Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
First they send in their drone... Then they find their queen.
A lonely waitress with a tragic past, Agnes rooms in a run-down motel, living in fear of her abusive, recently paroled ex-husband. But when Agnes begins a tentative romance with Peter, an eccentric, nervous drifter, she starts to feel hopeful again - until the first bugs arrive...
I seriously can't believe it. After my wife subjected her poor mid 70's parents to Killer Joe last night, she somehow convinced them, by some sly Ashley Judd trickery, to watch Bug tonight. I suspect they aren't going to visit anymore.
Me, I was smiling all the way through. Not from observing my in-laws uncomfortable, but well timed, reactions, ( well, maybe a little ) but rather that on a short re-watch this film didn't lose a speck of it's brilliant luster.
After being completely gob-smacked by Friedkin’s Killer Joe last year, I was eagerly anticipating seeing his previous collaboration with playwright Tracy Letts. I was expecting good things, but not the incredible ride I was taken on.
Right from the opening scene, Friedkin conveys so much with such masterful economy, it’s staggering. We start with a distant point of light, as we move in closer and closer you feel the isolation and loneliness, and you feel that something is arriving. The simple use of the harsh ringing of a telephone elicits a sense of menace and dread.
Perhaps we’re seeing a visual metaphor of Peter’s elliptical approach to Agnes. He sees her tiny point of light, and is drawn to her…
Infestation is everywhere in Bug attacking the pores of the skin, slowly taking over the mind, large pests leaving prison to invade lives, secret organisations on the hunt looking to exterminate their prey. It's a cacophony of disease surrounding two people holed up inside their own lonely lives, barricaded into a motel room, seeking refuge in the corners of their disappearing sanity.
This intense psychodrama quietly lays its seed early on then draws you in slowly, almost deceptively, to a climax that will leave you wide-eyed at two actors totally off the leash. Ashley Judd and Michael Shannon turn in performances of the like you rarely get to see, or which a director rarely inspires. An actor on their game…
Agnes White (Ashley Judd) lives in a run-down motel. Her son has gone missing years ago. Her violent ex-husband has recently been released from prison. She receives silent phone calls that worry her. She meets Peter Evans (Michael Shannon) through a friend. He is acting very strange and seems to be a dangerous person but Agnes allows him to stay with her for awhile. As they begin to know each other, she finds out from him that he was used by the military in different experiments, ran away and now is followed by secret agencies.
This movie is insane. Most of it takes place in the motel room which creates a claustrophobic atmosphere rarely achieved in other movies. Ashley Judd…
Bug had me from the very first scene.
Black screen with credits. An old rotary phone rings.
It is answered by a woman. Hello? (pause). Hello?
An aerial view of the middle of nowhere with what looks to be 5 buildings surrounded by nothing but empty fields and a highway.
It's eerie and ominous already. Someone somewhere down below is getting calls. Wherever she is we know she is isolated. Alone.
The camera keeps moving forward. She is in one of these buildings.
Who is calling her? How long has this been going on?
The camera begins to settle on a decrepit motel. Motel. Is she hiding from someone? Has he found her?
We are now just above the motel…
I have no idea what the hell I just saw, but this was pretty fucked up and awesome at the same time !
Damn, am I the only one feeling really itchy ?????
Tracy Letts's mid-90's play Bug debuted shortly after the Oklahoma City bombing, in a time when a rash of anti-government, conspiratorial militias obsessed with the New World Order were sprouting up across the country, many populated by ex-military personnel like one of Letts's characters. Ten years later in 2006, when William Friedkin adapted the intense work into a film, I remember reading a Time magazine article about how a significant portion of the US was sure that there was much more to the 9/11 attack, such that the government either knew about it beforehand, or executed it themselves. Watching Bug now, when those same militias are experiencing a resurgence, it's more than a little disconcerting to get a glimpse into…
Friedkini ja Lettsi esimene koostöö ei jätnud mind küll päris sõnatuks nagu tegi Killer Joe, kuid saavutab kohati tolle filmiga võrdväärse pinge ja intensiivsuse.
Judd ja Shannon on erakordsed. Nad toovad ekraanile ühe tooreima kujutluse tõelisest hullumeelsusest, mida ma näinud olen.
I am the super mother bug!
I better go get my toothache checked out
The most successful aspect of this movie for me was Ashley Judd's character, Agnes. She was built so carefully and played so well I never for a moment doubted how a person like her could end up in the extreme situation she did. Shannon was excellent as well as the fascinatingly odd Peter. There was a pervasive tension and desperation to this movie and it benefited tremendously from its claustrophobic single setting.
When such over the top moments of frenzied insanity are on display it's not easy to avoid unintentional humor and this did dip into it here and there for me. At least when I laughed it was in a horrified way. Like many adaptations from plays, this movie…
This movie was deeply disturbing. I am very prone to believing conspiracy theories, and it's not a stretch for me to imagine myself, under the same circumstances Agnes is in - mentally and emotionally weak due to the stress and grief caused by an abusive husband and lost son, and addicted to drugs and alcohol - declining into insanity in a similar fashion.
Whew! William Friedkin’s full-blown, shrieking, nauseating psychological drama is utterly insane and powerful in a way that will literally blow anyone’s mind. Not knowing anything from the beginning, this two-hander drama is adapted from Tracy Letts’ play, who also wrote the magnificent August: Osage County. Slowly but surely, Friedkin walks his audiences down spiral to hell as we follow two conflicted souls slowly disintegrating from reality and let paranoia and madness overcome them.
The film eventually veered towards an overwrought, hysterical, implausible world. But for me, it doesn’t really matter because somehow IT WORKS. Witnessing how these actors chewed on their characters is just seriously fun to watch. The weirdness and the discomfort that they do is utterly hallucinating. Friedkin…
"Bug problem? "- Dr. Sweet
Bug is a strange film. It has a great sense pf atmosphere and terrific performances from Ashley Judd and Michael Shannon though. Things get increasingly intense and crazy as the film progresses, but I liked it overall. Another solid film from Friedkin. 7/10
Film girato ottimamente, ad alto tasso di difficoltà tecnica (date le limitazioni che il regista si autoimpone) e che riprende la pièce teatrale da cui è tratto il tutto.
Ottima la prova attoriale nell'inesorabile evolversi della vicenda.
Solitamente non sono narrativamente molto affascinato dalle spirali paranoiche, in particolare quelle pseudo-complottiste mostrate nel film, ma certo è che sono un argomento molto delicato che tocca la sensibilità di migliaia di persone (vedi anche la questione scie chimiche negli ultimi anni).
Il film le prende di petto, estremizzandone al massimo le degenerazioni orrorifiche, sul piano psicologico, ma senza mai banalizzarle e inserendo continui riferimenti che, sottotraccia, continuano ad inquietare lo spettatore, coltivandogli quel dubbio che rappresenta l'origine vera di ogni paranoia.
Me when watching this movie: -__-"
Me when the story reached around the ending: :O
Me when I found out the director was William Friedkin: .............:|:|:|:|:|
Interesting story, but it was, to be honest, super boring. But the actors and the actresses deserved like 10 awards or something. Mindblowing performance.
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
My five hundred favorite films (1940-2014)