What Movies are you Watching?

[GhostontheNet]

Underworld - A fun action flick with a gorgeous aesthetic. The costumes were awesome (and somewhat reminiscent of The Matrix ), and the set design was amazing. Anyway, it's a movie about the interminable war between vampires and werewolves, and thankfully the prosthetics and CG were pulled off wonderfully and believably for the most part. Overall, it was a fun movie, but a bit talk-y, if you know what I mean. There was much discussion of the long, sordid history of these two factions who've been fighting for hundreds of years. There were a couple of twists that surprised me, but I didn't really feel invested in any of the characters or care much which side won in the end. I doubt I'll watch it again, but I'm glad I saw it.

In terms of vampires and lycanthropes, I always tend to think of the gold standard as the line in Werner Herzog’s Nosferatu the Vampyre when Dracula says to Jonathan Harker “Ah, young man, you are like the villagers who cannot place themselves in the soul of a hunter.” Herzog underscores Harker’s hypocrisy as he eats of a game bird prepared with its eyes and feathers still attatched while a ghostly bird chirp is heard outside, so that he accepts the meat but not the kill. Nowadays, to do a film or novel about vampirism or lycanthropy, you have to know the mythology down pat, and the audience has to know that you know. Something like the Twilight series reinvents the rules in ways that bring audiences who wouldn’t normally get into stories about vampires and werewolfs, but in ways longtime vampire fans hold in almost universal contempt with its sparkling, so-called “vegetarian” vampires.

Underworld, on the other hand, wants to be the series for the hardcore fans, right down to the geeky sidekick who transforms into a vampire/werewolf hybrid. Because people know the rules of vampirism and lycanthropy, it’s harder to do a horror film in which they’re what’s truly scary. In Let the Right One In, what’s scary is not Oskar’s vampire girlfriend/boyfriend Eli (the film and novel conceive of Eli as an androgynous post-gender entity), but bullying, a pedophiliac serial killer, and the prospect the protagonist’s desire for revenge will turn him into a horrible person. One popular way of getting around this is telling these stories as a fantasy action-adventure film. Most often these are told from the perspective of a hunter of the hunters in films like Van Helsing and Hansel and Gretel: Witch Hunters. But a monster can be a good anti-hero, which is what Underworld does with the character of Selene. This blending of classic horror and fantasy continues into the TV series Lost Girl, where such creatures are known collectively as the Fae. I remember I found Underworld’s metaphor of monstrous transformation as adolescence amusing. What I most appreciate about these films are how Goth-friendly they are, which helps foster understanding in certain circles.

Addendum: On the other hand, Ginger Snaps manages very well to be a truly scary werewolf movie, especially in the finale.

[drill]

Castaway. This is at least my fifth time seeing this movie, however, I needed to watch it for my English class.

[LastLfan]

Rewatched the matrix today, such a good movie

[GhostontheNet]

Tonight I watched Two-Lane Blacktop directed by Monte Hellman.

This movie breaks even in my book. Here you have this cross-country race to Washington D.C. against a mostly sympathetic antagonist, which is actually pretty clever story design. The film banks much less on interesting characters than interesting situations. They get their American macho power trip behind the wheels of some very fast cars, but they don’t get what they really want, not even to go out in a blaze of glory.

[GhostontheNet]

Tonight I watched Apocalypse Now directed by Francis Ford Coppola.

Ingmar Bergman once said of Andrei Tarkovsky upon watching Ivan’s Childhood that “Tarkovsky for me is the greatest, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream”. If so, then Coppola attempts to capture a sense of life as a waking nightmare, particularly in this film. Apocalypse Now is my favorite narrative film set in the Vietnam War, immensely rich in its epic portrayal of what Coppola terms The Idiocy by way of The Odyssey. I think what sets Coppola apart is his sense of colonial histories and philosophical implications, as it situates the narrative in terms of the current state of human thought and culture.

For example, old films about mad scientists have tended to reprove their tragic heroes or villains for “playing God”. But Coppola realizes the situation has changed ever since J. Robert Oppenheimer remembered lines from the Bhagavad-Gita upon witnessing the first atomic tests in which “Vishnu is trying to persuade the Prince that he should do his duty and to impress him takes on his multi-armed form and says, ‘Now I am become Death, the destroyer of worlds.’” Accordingly General Corman says of Colonel Kurtz, “out there with these natives, it must be a temptation to be God.” In other words, the cosmic forces that were once the exclusive domain of divinity and angels have already been terribly wielded in the era which will repopularize Eastern Mysticism in America.

The Gita’s theme of duty will play out as Willard is sent on an absurd black-ops assassination mission, even as he observes “charging a man with murder in this place was like handing out speeding tickets in the Indy 500.” His mandate to terminate Col. Kurtz “with extreme prejudice” is a triple-entendre on the forcible termination of a contract, and the violence of American racism reinforced with routine racial slurs. The American variety of the banality of evil is expressed as Col. Kilgore massacres a Vietnamese village while playing Wagner’s “Ride of the Valkyries” out the helicopters to inspire terror–something the Nazis would have done if they had thought of it–so that he and his men can go surfing in a hail of fire. Col. Kurtz, on the other hand, surrounds himself with Asian and indigenous peoples, and emphasizes while looking toward heaven that conflict must be waged “without judgment... without judgment! Because it’s judgment that defeats us.”

Gilles Deleuze and Félix Guattari once wrote that “The only modern myth is the myth of zombies”, although they later seemed to have expanded it to two myths with the myth of the deserter who leaves the imperium to join the nomads (i.e. indigenous peoples). This can be said of the Vietnam War in general, Apocalypse Now in specific. More recently, everyone seems to compare Avatar to Pocahontas and Dances With Wolves. But thematically, it reminds me the most of the Bhagavad-Gita and Apocalypse Now. The Na'vi are even blue like Krishna in Hindu art, while an avatar is originally a Hindu term for a divine incarnation. Probably the themes of Apocalypse Now resonate all the more in these times when the American president openly plans drone assassinations on Terror Tuesdays, when extreme prejudice is a grim fact of life, when chemical warfare is a hot-button issue, and when American military forces mass-redeploy to the Asia-Pacific under the Pivot to Asia strategy.

[SierraLea]

Watch The Crucible for school. It may not be flashy, but that movie leaves you thinking with a pit in your stomach. And now I have to write a paper about it!

[the_wolfs_howl]

Finally got around to seeing Star Trek: Into Darkness. I'm not a Star Trek person by any means, so the only reason I watched this was for Benedict Cumberbatch To my surprise, I ended up liking it rather a lot. It was a fun action movie, and surprised me by how much heart it had in it as well. The acting all around was amazing (particularly in the case of Khan and Spock), and I love how they characterized everybody and played them all off each other. Really great character dynamics. I started off thinking Captain Kirk was just a complete jerk, and ended up sympathizing with him quite a lot. It even made me cry at one point.

Definitely recommend this to anyone, whether they're a fan already or know nothing about Star Trek, like me.

[bigsleepj]

I watched A Monster in Paris. Its an animated French movie dubbed into English. It has a fairly predictable plot and the animation is not as good as most US production but the movie has a weird, likeable charm that I enjoyed. And a great song that gets stuck in your head.

[GhostontheNet]

Tonight I watched Heavy Metal directed by Gerald Potterton.

This is probably the most audacious North American animated film since Walt Disney’s Fantasia. Strictly speaking, it’s Canadian, although an aesthetic tendency of Canadian film and television is to try and pass for American while presenting content and themes difficult to address in American media. Heavy Metal’s main reason for existence seems to be to give the middle finger to the legacy of the Hayes’ Code and Fredric Wertham’s The Seduction of the Innocent in the era of McCarthyism, as it has affected American attitudes toward comics and animation. Lingering elements of the Disney style only serve to facilitate a perverse sexual humor, as the princesses and evil queens enjoy casual sex.

The world of Heavy Metal is a sci-fi universe in which life is cheap, and people have lost patience with any sense of justice. The sense of a value to life and the possibility of justice are what must be restored to the world. The floating green glowing orb that declares itself to be the ultimate evil and induces deadly bodily transformations cannot but resonate with radioactive matter. These stories have a definite anti-authoritarian streak, and make no qualms about exploiting the capacities of animation for gore and sleazy wish fulfillment. Like pulp comics. As one might expect, the soundtrack is rockin’ Heavy Metal musicians now generally thought of as classic rock with Devo thrown in for good measure. But where Heavy Metal has been most influential is the visual style of science fiction as we presently know it. Not surprisingly, David Fincher, James Cameron, Guillermo del Toro, Zach Snyder, and Gore Verbinski have all expressed an interest in directing segments of a contemporary Heavy Metal film project still caught up in development hell.

[GhostontheNet]

I watched A Monster in Paris. Its an animated French movie dubbed into English. It has a fairly predictable plot and the animation is not as good as most US production but the movie has a weird, likeable charm that I enjoyed. And a great song that gets stuck in your head.

While it doesn't yet have the global pop cultural influence and fanbase of American and Japanese animation, I notice French animation is getting really good. A lot of them do have this quaint charm and sneaky humor, like the way The Triplets of Belleville plays on the Jazzy bare-knuckled quality of pre-Code American animation.

[bigsleepj]

I watched A Monster in Paris. Its an animated French movie dubbed into English. It has a fairly predictable plot and the animation is not as good as most US production but the movie has a weird, likeable charm that I enjoyed. And a great song that gets stuck in your head.

While it doesn't yet have the global pop cultural influence and fanbase of American and Japanese animation, I notice French animation is getting really good. A lot of them do have this quaint charm and sneaky humor, like the way The Triplets of Belleville plays on the Jazzy bare-knuckled quality of pre-Code American animation.

I loved 'The Triplets of Belleville', and I want to watch the director's The Illusionist. France has always had a very uneven animation history. From high-quality Asterix adaptation movies to psychedelic movies like Fantastic Planet it seems to come and go and never quite got to its feet (though they have an extensive animated television library, a lot of it high quality). Though I'm not particularly fond of its left-leaning political viewpoints I am a big fan of Persepolis, which you should seek out if you haven't already.

[the_wolfs_howl]

Because it was Friday the 13th, I decided it was a good time to finally sit down and watch The Shining. And OMG I LOVED IT This is exactly my kind of horror. There was just this wonderful build-up of tension and intrigue through the whole thing that I loved. Very few jump-scares or the cheaper side of horror - just deeply disturbing, though-provoking things building up to a crescendo at the very end. Also some amazing acting on the part of Jack Nicholson and whoever played Danny - seriously freaky kid. And the whole thing was just that much creepier knowing that the makers of this movie originally wanted to shoot the film at my college ._.

Warning to anyone who might be curious and doesn't know this already: There's some pretty blatantly implied demonic possession going on, and a scene with full-on female nudity (that can be skipped easily).

[GhostontheNet]

Warning to anyone who might be curious and doesn't know this already: There's some pretty blatantly implied demonic possession going on, and a scene with full-on female nudity (that can be skipped easily).

I don't think The Shining's is a horror universe that needs demonic possession. Here's my reasoning. In the last shot of the film, which doesn't give away the ending, we see Jack Torrence as the life of the party among the jet set in a photograph signed July 4th, 1921. In other words, he was the one who killed his wife and twin daughters gifted with the psychic powers of those "who shine". That is how they show Danny the scene of their death, much like Danny sends out an S.O.S. to Dick Hallorann after Jack has sabotaged the radio. They say abuse is often cyclical from one generation to the next, and The Shining draws upon the horror motif of the generational curse while conveying the theme that the curse can be broken. Stephen King has told stories about inhuman evil. But the evil of the ghosts of the jet set is all too human, the kind of evil that builds a posh hotel on a site marked by genocide of indigenous peoples, the kind of evil that throws grand parties upon the mass slaughter of World War I. In other words, the kind of evil that makes a torrent of blood, one of the film's most famous symbolic images.

The ghosts get Jack on their side in 3 ways. A.) They feed Jack's alcoholism to win his loyalty and drop his psychological inhibitions to acts of violence. The alcohol is termed "white-man's burden" in ironic evocation of Rudyard Kipling's sense of the British colonial mandate, and to the opiate of the reservations. B) They allow his psychosis to build with the extreme isolation, which they relieve with grand parties to condition him to believe that all good things come from them. In each of these they deliberately put a fulcrum between Wendy's efforts to connect and maintain ties to humanity. C) The bathroom talk on the values of American racist patriarchy, and the violence it must impose to maintain its power and privilege. It's blunt, but it is what a lot of people in 1921 believed, as they made clear with the revival of the Ku Klux Klan and the wave of lynchings. In the 1920's, the KKK managed to take control of Colorado's politics, all the way up to Mayor Stapleton of Denver. In the end, Jack is convinced to do what he has already done. There's a certain mystery to this. Does this imply something like Plato's notion of anamnesis? Or must Jack be convinced every time? Why does Jack come back to repeat the cycle while they remain unchanged in all those decades?

I think the function of the nude scene is to convey the mythological elements of the narrative. On one level, the woman in Room 237 is a siren or a river nymph to draw Jack’s desire away from Wendy. Jack has spoken of his family as a kind of possession, i.e. “Let me go collect my family.” Lloyd the ghostly bartender has indulged Jack in a drunken misogynistic ranting in which he reveals he considers Wendy to be a kind of reproductive machine, but also by that token an object of desire. To get Jack to murder his family, they have to convince him of the same precedence as the Dred Scott v. Sandford case, as it ruled with regard to the question of slavery of the right of the master to dispose of his property however he saw fit. So by sending her in to tempt and sexually humiliate Jack, the ghosts have got Jack by the balls. This is reinforced when she leaves strangle-marks on Danny to destroy the trust between Jack and Wendy, and so push him further toward their side. Another parallel is to the Lady of the Lake who bestows Excalibur to King Arthur, although he is an unworthy hero. The myth of the psychic powers of those “who shine” is treated as a myth of the holy grail. Danny is the young Arthur, and Dick Hallorann is the wise old magus Merlin. Hallorann feeds Danny ice cream in a beautiful lustrous grail dish while explaining the special powers they share to link the grail to the shining. Like Herod’s efforts to murder little Jesus, or Carrie’s encounter with the Salem Witch Scare mentality, the potential this raises for change is something the powers that be want to crush. It should also be noted a common interpretation of the holy grail is as a symbol for female sexuality, and the earliest Christian grail legends are basically euphemistic stories about how to ask a girl for her number. Jack has been unable to find the will to reciprocate Wendy’s efforts to connect relationally and sexually, retreating to a novel he isn’t really writing. So here the element of the repressed returns with a vengeance, transforming his character for the worse.

[GhostontheNet]

Tonight I watched The Housemaid directed by Kim Ki-young.

Apparently, The Housemaid is considered one of the best South Korean films of all time, and a remake was recently filmed in 2010. The opening scene shows two children playing cat’s cradle, as the string transforms its definition while remaining a spider web from which it is more and more difficult to extricate. That is the metaphor of this film, as the dynamic of power shifts dramatically from scene to scene only to reinforce the underlying structures of repression. It is a film at the point in which family melodrama transforms into a terrifying psychological thriller, and it is relentless. The film establishes its worldview of a South Korea utterly constrictive in its mores, and a protagonist and his family who have no desire to free themselves from its demands. The story concerns how they take in a housemaid, and how she takes over the house to establish a reign of terror following a tumultuous affair. Perhaps this functions as a political metaphor for the brutal dictatorship of Syngman Rhee in the South, who would be ousted in the April Revolution of 1960, the very year of this film’s release.

[the_wolfs_howl]

I don't think The Shining's is a horror universe that needs demonic possession.

The main instance of demonic possession I was referring to was Danny, with his "boy that lives in his mouth." The way Tony would just take over Danny's body completely really seemed to be indicating demonic possession to me. What's interesting is that Tony actually seemed to be trying to warn Danny and Wendy that they would be in grave danger if they went to the hotel. So this particular demon doesn't seem to be completely evil - just parasitic, I guess. At the very worst, Tony just doesn't want Danny to die because then he wouldn't have a host to inhabit anymore. In a lot of ways, Tony reminded me of the kind of "demons" that appear in anime from time to time - not necessarily evil, just neutral spirits. This doesn't exactly align with Biblical definitions of demons, but I don't think we can expect Stephen King to get everything theologically right

But yeah, my point is that Tony seems to be a lot more like a demon than a ghost (the party-goers could go either way). Unless you want to go the purely psychological route and say that all of the stuff that happens in this movie is completely due to Jack and Danny's delusions and psychosis. While the psychological aspect can't be ignored, by any means, there really seemed to be an indication that this was also the work of demons.


On a lighter note, I got to see The Wolverine in the dollar theater Fun, solid action flick, full of cool fight scenes, parkour chases, and Logan one-liners It was fun to get a movie set in Japan, and I got really excited when Hiroyuki Sanada (my favorite Japanese actor) came on screen Nothing earth-shattering, but definitely worth a watch if you like Hugh Jackman's portrayal of Wolverine.

[SierraLea]

Just finished "Epic". Does not live up to the name, a lot of cliché plots with none properly developed, but the idea was rather intriguing and there were a few nice touches.

[GhostontheNet]

The main instance of demonic possession I was referring to was Danny, with his "boy that lives in his mouth." The way Tony would just take over Danny's body completely really seemed to be indicating demonic possession to me.... In a lot of ways, Tony reminded me of the kind of "demons" that appear in anime from time to time - not necessarily evil, just neutral spirits.

I think the classic text about what connotes the Christian sense of what spirits are demonic comes in a rather astute bit of reasoning in the Gospel of Matthew. There we read: “But when the Pharisees heard it, they said, ‘It is only by Beelzebul, the prince of demons, that this man casts out demons.’ Knowing their thoughts, he said to them, ‘Every kingdom divided against itself is laid waste, and no city or house divided against itself will stand. And if Satan casts out Satan, he is divided against himself. How then will his kingdom stand? And if I cast out demons by Beelzebul, by whom do your sons cast them out? Therefore they will be your judges. But if it is by the Spirit of God that I cast out demons, then the kingdom of God has come upon you.’” (Matthew 12:24-28 ESV)

Basically, the accuser, the satan, cannot act in a way that undermines his own project. That would mean civil war in which his kingdom could not stand, and therefore defeat by the kingdom of God Jesus heralds as stated in the conclusion. In the narrative world of The Shining, what would Old Scratch want but the death of Danny, Wendy, and Dick Holloran? Lloyd the Bartender shows up in a red suit looking devilishly suave, and the fact that Jack is given the alcohol without charge signals a Faustian bargain that will cost him his soul. Perhaps the ghostly party of the jet set is hell, and its hellishness is fully manifest toward the end (i.e. the ghost with his head split in two who gleefully declares “Great party, isn't it?”).

A modern psychological perspective might see Tony the “little boy that lives in my mouth” in terms of psychological disorders like schizophrenia or multiple personality disorders. And he is compared to an imaginary friend. Except, he conveys key information that Danny could not possibly know, so he is a real spiritual entity in the film’s world. To be sure, Tony gives you the shivers, not least with antics like shamanism or the possession religions of the African diaspora, Pentecostalism included. Just because that man or woman is waving around that ax in a controlled ritual, does not mean he or she is going to murder you. If you watch Tony’s character arc, what he does consistently is to give Danny and eventually Wendy the information they need to survive. Which of course means Tony cannot qualify as a demonic entity by the “house divided against itself” standard.

I think an unfortunate inheritance that lingers into contemporary Christian theology is this sort of tendency toward Manichean dualism, where a spiritual entity is either unequivocally good and holy, or it is demonic and wholly evil. Islam makes the theological innovation that there were certain jinn who converted to the true faith and so overcame their predilection toward evil agency. Many of the tales of the Thousand and One Nights explore how such jinn could be a benevolent force, while others explore how other jinn could be a malevolent force. Anime like Chrono Crusade introduce this theme back into Christianity as an earlier Abrahamic faith. More generally, the recurring theme of wish fulfillment in anime as a potential intrinsic to the medium always finds itself somewhere between Aladdin, Faust, and The Monkey’s Paw. By the terms of The Shining, Danny is the holy child, a Christ figure in literary terms. In that case, may I propose that Tony is a guardian angel, and not a fallen one?

[GhostontheNet]

Weird, I somehow made a post here quoting myself, and saying nothing in response to myself. I've substituted this instead, which can be deleted at a mod's leisure.

[the_wolfs_howl]

Rewatched Star Trek: Into Darkness, TMNT, and the live-action Rurouni Kenshin movie, showing them to my family

[the_wolfs_howl]

Cabin in the Woods - A pretty fun movie, spoofing practically every horror movie ever made. I appreciated the few references I got, but it was a solid horror movie in its own rights too, I think. Also, because Joss Whedon wrote the script, there were some very clever, witty lines thrown back and forth Very bloody and gory and filled with profanity, though, and I didn't actually find any of it that scary because it relied on jump-scares.

[Xeno]

Re-watching the LotR movies in extended formats. I haven't seen any of these since around 2005, and I've never watched the extended cuts despite owning the extended versions of each film for about the last two years.

Also finally got around to watching The Hobbit: An Unexpected Journey. I really don't know why I waited nearly a year to see it. Everyone who had issues with the movie can go chew on a brick because it was great.

[GeneD]

Saw Gravity on Friday and I and basically everyone I was with thought it was rather overrated. Yes on a technical level is was really amazing and beautiful but idk the story just seemed a little bland. Might've been some suspension of disbelief issues too. SPOILER: Highlight text to read: Like when George Clooney floats away.

[SierraLea]

Saw The Croods yesterday. I really liked the progression of the storyline, and where the confrontational scenes were placed. I do wish we'd gotten to see more of the romantic element, though.

[Crossfire]

Memphis Belle. I tear up every time I watch it.

[the_wolfs_howl]

Also finally got around to watching The Hobbit: An Unexpected Journey. I really don't know why I waited nearly a year to see it. Everyone who had issues with the movie can go chew on a brick because it was great.

Amen

Rewatched V for Vendetta on the 5th of November, of course

I also watched Thor and Thor: The Dark World in the past couple days, because the only movie in this franchise I'd seen so far was The Avengers, and I figured I might as well. They were fun, though I'm still not much of a fan of Thor as a character. Loki is a really interesting, compelling villain, though, and I always love it when the good guys are forced to join with him against a greater evil. It was really shiny to look at, and had a lot of funny moments throughout. Glad I got to see The Dark World in the theater

Also...this might sound kind of weird, but one of my favorite parts of The Dark World was the previews - especially The Hobbit a;lkdjgs;lkdghjs;dlfkjs;dk

[the_wolfs_howl]

I rewatched Throne of Blood for a paper, and enjoyed it as much as before.

Also for that paper, I watched Maqbool, an Indian adaptation of Macbeth taking place in the Mumbai underworld. It was interesting and really different from the original, of course. I especially liked the music.

Then I watched the ShakespeaRe-told version of Macbeth, which is absolutely amazing and anyone who likes Macbeth at all needs to go see it. It's a modern-day adaptation set in the kitchen of a high-class restaurant. Really unexpected, but impeccably done. Seeing these events in a context much closer to my own really helped me see just how awful and reprehensible they are, rather than just abstractly thinking they're evil in the play.

[MomentOfInertia]

Jack Reacher
Better than I thought. Sort of a modern take on the private eye/noir stories.

Monsters University
By Pixar, so it was good. Not much to say here, if you like Pixar's stuff this is another good one.

Pacific Rim (again)
Watched this for the second time, some of the awesomeness was educed by watching it at home instead of at the theater. On closer inspection some of the writing is a bit cheesier than I originally thought, and the "analog" bit still drives me up the wall for technical reasons, but it's got exceedingly shiny giant robots which are a rare commodity.
Even if you're not into that you should at least watch it for the sheer spectacle.

[drill]

Jurassic Park
Watched this for an English class I'm taking. I wasn't really impressed with character development or the actual story, as it took up so much time explaining what Jurassic Park was that the whole scandal just seemed to be a poor excuse of being locked into the park. So, overall, not a bad film, it just could use a lot of improvement.

[ClaecElric4God]

Jurassic Park
Watched this for an English class I'm taking. I wasn't really impressed with character development or the actual story, as it took up so much time explaining what Jurassic Park was that the whole scandal just seemed to be a poor excuse of being locked into the park. So, overall, not a bad film, it just could use a lot of improvement.

Wait, this is the first time you've seen it?
I grew up with Jurassic Park, watching it at much too young of an age, in my opinion.

[drill]

Jurassic Park
Watched this for an English class I'm taking. I wasn't really impressed with character development or the actual story, as it took up so much time explaining what Jurassic Park was that the whole scandal just seemed to be a poor excuse of being locked into the park. So, overall, not a bad film, it just could use a lot of improvement.

Wait, this is the first time you've seen it?
I grew up with Jurassic Park, watching it at much too young of an age, in my opinion.

Yes, this is the first time I have ever seen it. My parents were very cautious of what I watched, even now, I watched it with clearplay as I don't take bloody scenes too well. I don't know how you could have watched this at 'too young of an age' as it is quite a disturbing film.