Stuart Gordon on “Stuck”

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05272008_stuck1.jpgBy Aaron Hillis

Though cult filmmaker Stuart Gordon is most revered for his many screen adaptations of horror legend H. P. Lovecraft’s work (including “Re-Animator” and “From Beyond”), his latest could be read as the final leg of an angry American trilogy that began with 2003’s “King of the Ants” and continued with his 2005 adaptation of David Mamet’s “Edmond.” In just over an hour and a half, “Stuck” is at once a caustically funny economic drama, a moral thriller and a survival horror flick, all based on a bizarre but true story. Mena Suvari stars as Brandi, a nursing home caretaker who, after partying a little too hard one night, hits recently downsized sad-sack Tom (Stephen Rea) with her car. He doesn’t die, but is slowly bleeding to death while half-embedded in her windshield, forcing a panicked Brandi to stupidly decide to leave him in the garage as she vies for a meager work promotion the next day. Events escalate disastrously for both parties, but to say another word would ruin the experience of this taut, nasty, giddily compelling little film that barks volumes about the state of the country today. I spoke with Gordon about “Stuck,” Lovecraft and sneaking political agendas into gore flicks. [WARNING: Minor spoilers ahead.]

“Stuck” bounces between so many genres. How do you perceive what the film ultimately is?

It’s based on a true story, of course, and that is what drew me to it in the first place. I was reading about it in the newspaper every day for weeks and couldn’t believe what I was reading. I kept wondering, what would make a woman do something like this? Finding the answer to that question was what the movie was all about for me. My daughter had a great take on it — she said it’s about how people are all walking around in these little bubbles of self-interest and no one really cares about anyone else. I think it’s unfortunate that things have gotten to be that way, but that’s the way they are.

What was the creative bridge between the story you read and the pointed sociopolitical critique the film contains?

I think those things fell into place. It wasn’t a question of “let’s do a movie about social criticism.” It’s part of telling the story, the idea that people are so afraid of admitting that they’ve made a mistake or taking responsibility for their own actions. We live in a world where no one apologizes anymore. People think it’s weak to help other people. It’s a real dog-eat-dog world, and I think that’s the world we’re all unfortunately stuck with right now.

Why are we like this?

I think people are afraid. It starts with our leadership, going all the way to the top. [George W. Bush] created this atmosphere of fear to get himself… he wasn’t elected, but to get himself in power, to keep people afraid and afraid of each other. The Supreme Court appointed this guy, which is completely unbelievable — it’s like a coup d’état. I’m hoping with a new administration coming in, God willing, things will get friendlier.

There’s been a lot of talk about the anniversary of 1968, the same year you were arrested on obscenity charges for a college play [“Peter Pan”] you produced. How much has changed in the sociopolitical climate since then?

05272008_stuck2.jpgWhat I think is interesting is that this administration is still trying to destroy all of the work that came out of ’68. I was getting depressed about that, and then I realized it’s still about the strides that were made in all sorts of areas: civil rights, the environment, women’s rights. All of that started with the things going on in ’68. You’ve got these people who are now trying to question it, to wipe it out, to get us back to how things were in the ’50s. I’m hoping that we can start undoing all the damage that’s been done in the last eight years, and start getting back on track.

But there’s so much apathy. How can you be cynical and progressive at the same time?

I think people have given up. They feel like they’ve been beating their head against a wall and it’s pointless. I think what’ll happen is that, bit by that, they’re going to realize that they do have power. Again, I think that’s been part of this administration’s approach — it’s like those old villains in movies who go, “It’s hopeless to struggle, there is no escape, blah blah blah.” That’s what we hear all the time, and people just eventually throw their hands up: I can’t do anything about it. One of the things that is exciting about this election is that people are getting engaged again, and hopefully that will lead to change.

Do you find it hard to get audiences to accept politics in a non-political movie today?

One of the great things about horror movies is that it’s one of the only genres to address and make political statements. It’s appalling when you think about how few movies have really made a statement of any kind. The biggest ones come from horror movies. One of the most obvious is Joe Dante’s episode of “Masters of Horror,” [“Homecoming”], where the dead soldiers come back from Iraq to vote out the president who sent them there. Since 9/11, horror movies have become the most important and popular genre because they’re dealing with what’s on people’s minds. “Cloverfield,” “War of the Worlds,” “28 Days Later” — they’re all making very strong political statements and they can do it because it’s in the guise of fantasy, of something impossible. In actuality, they’re dealing with the here and now.

“Stuck” is a bit booby-trapped with the ambiguities between heroes and villains. How did you approach the dynamics between Brandi and Tom?

We didn’t want to make her into a monster — the idea is that she’s an ordinary person who finds herself doing some terrible things. They always talk about the banality of evil. By making wrong decisions, she goes down this path and has to follow through with it. Both Stephen Rea and Mena Suvari pointed out that [in the script] both of their characters get stronger as the movie goes on. They’re fighting for their lives. Stephen said, “After this movie is over, I don’t think that Tom is going to be on the streets much longer.” Tom has found that strength to get himself out of this situation. The same is somewhat true of Mena’s character, that she has to take things into her own hands. She grows in the course of the film. It’s fun watching it with an audience because their sympathies go back and forth between the two characters.

You have a long history in theater, but you’re more renowned for your films. Artistically, how different are the two mediums for you?

Theater is the most difficult art form. It takes tremendous concentration. Unlike a movie, you can’t stop and do it over again. It’s also a real dialogue with the audience. The actors and the audience are communicating with each other throughout the performance, where a movie is an optical illusion projected on a wall. I try with my films to get that sense of involvement, to let the audience participate and engage their imaginations. My favorite kinds of movies are the ones where you forget you’re watching a movie. You forget there are actors, a script, a director, and you just get lost in it. Theater has the power to change people, and I think films do, too.

05272008_stuck3.jpgI’ve never seen any of your theater productions, but here’s a free idea for you: “Re-Animator: The Musical.”

[laughs] It’s funny, it’s actually been suggested to me to do a musical version of “Re-Animator.” I’m trying to figure out how to accomplish that. It would be a bad idea, really. The kinds of plays I like to do are [those in which] the audience actually plays a part. I did a play called “Dr. Rat” in which all the characters were laboratory animals, and the whole audience were put in cages. At a certain point, there’s a revolution in the lab and the animals open the cages and let everyone out. The audience is given the choice to stay in their cages, or to join the characters onstage. By the end of the performance, there’s literally 150 audience members onstage with the actors. It was quite extraordinary.

You’ve done so many H.P. Lovecraft adaptations, many of which were considered unadapatable. What makes him so vital to you in cinematic form?

You can’t top Lovecraft for imagination, what a mind! His ideas are still so far out there. We haven’t even caught up with him yet, 70 years since he’s left us. He creates universes, and the thing I love about his work is there’s a connection between his stories. How many writers have created a whole sort of mythology like Lovecraft has? He’s so incredibly rich, and he’s got so many stories. That’s the other thing I discovered early on — they’re all public domain. Anyone can do a Lovecraft story right now. There’s a festival every year in October in Portland where amateur filmmakers do Lovecraft adaptations. I think they’ve done all of them at some point or another, so he’s a treasure trove.

Have you made any plans for a sixth Lovecraft film, if we’re including your “Masters of Horror” episode “Dreams in the Witch-House”?

I’m prepping “The Thing on the Doorstep,” and I’m hoping that’ll be the next thing I do. It’s the only Lovecraft story that has a strong female character, and I really think it was written about his marriage. He was married for only a few years, and so it’s a horror story about marriage. For a while, I was hoping to do “House of Re-Animator,” but found that people were so afraid to do anything that might offend the Bush administration because the story was set in the White House. Thinking about it got me back in this “Re-Animator” world, and I would like to come back at some point.

[Photos: “Stuck,” THINKFilm, 2007]

“Stuck” opens in limited release on May 30.


New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…


IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. 

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number! 

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time. 

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by. 


IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo. 

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim. 

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t? 

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?” 

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud. 

See the whole season of Neurotica right now on IFC’s Comedy Crib.


The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”


Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).



Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.


And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.


Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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GIFs via Giffy

In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.


Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.


Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!



Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.


Self Defense

You can’t throw a download like a ninja star. Think about it.


If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.