A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Mitchell Lichtenstein. Show all posts
Showing posts with label Mitchell Lichtenstein. Show all posts

Saturday, November 8, 2025

Teeth (Mitchell Lichtenstein, 2007)

Jess Weixler in Teeth

Cast: Jess Weixler, John Hensley, Josh Pais, Hale Appleman, Lenny von Dohlen, Vivienne Benesch, Ashley Springer, Laila Liliana Garro. Screenplay: Mitchell Lichtenstein. Cinematography: Wolfgang Held. Production design: Paul Avery. Film editing: Joe Landauer. Music: Robert Miller. 

Poised in the gap between exploitation and satire, Mitchell Lichtenstein's Teeth doesn't quite make the grade as either. The title refers to legend of the vagina dentata, a physiological anomaly somehow possessed by Dawn (Jess Weixler). a teenage advocate for the save-it-for-marriage movement. When she lets herself and her boyfriend, Tobey (Hale Appleman), give into their urges, he gets a little too aggressive in satisfying them and suffers the bloody consequences. Teeth never really overcomes its sensational premise, an obvious one for a body horror movie with feminist overtones. Lichtenstein, making his feature debut as writer and director, hasn't yet mastered some of the skills he needs to make it work. The pacing feels off and some of the exposition is muddled. When the film succeeds, it does so because of a sly performance by Weixler, who makes Dawn's confusion and eventual determination more plausible than the script does.