Classic Movie Review Time Bandits

Time Bandits (1993)

Directed by Terry Gilliam

Written by Terry Gilliam, Michael Palin 

Starring John Cleese, Sean Connery, Shelley Duvall, Ian Holm, Craig Warnock 

Release Date July 2nd, 1981 

Published November 28th, 2023 

A young boy is lying in bed, fighting off sleep, but seemingly losing the fight. All of a sudden, a horse with a man in armor bursts out of his cupboard and leaps over his bed before riding off into the distance of his bedroom wall which has somehow become an ancient meadow. You naturally might assume that this is a dream sequence, a short nightmare perhaps. But director Terry Gilliam is toying with you. He has the parents come to the child's room immediately following the nightmare and, though the boy's room is suddenly back in order, the parents claimed he was making quite a lot of noise. They tell him to knock it off and go to bed. 

The following day, our hero, Kevin (Craig Warnock) is desperately eager to get back to bed. He's ready with a flashlight and a polaroid camera at hand in case the armored horseman returns. The Knight does not return but Kevin's bedroom is once again magically transformed. This time, a group of 6 little people carrying a magical map invade Kevin's bedroom and begin to wreak havoc. These six men are on the run from a God-like entity from whom, they have stolen a magical map of time. The map allows them to travel to places throughout world history where they can steal all the treasure they want. 

Naturally, Kevin gets caught up in the time travel chicanery as the bandits take him with them on their journey. The first stop is Italy where they land in the midst of the battle of Castiglione. Then it's off to meet Napoleon in France where they manage to get into Napoleon's inner circle simply because they are the only people Napoleon is taller than. Ian Holm plays Napoleon as a height obsessed goof whose idiocy leads to his new friends stealing his entire treasury. The bandits make a narrow escape with their stolen goods and land somewhere in England in the time of Robin Hood. 

Robin Hood is played by some a****** TERF who I will not name and he assumes that the Bandits treasure is their contribution to his cause, stealing from the rich to give to the poor. This sequence introduces a running gag involving Michael Palin and Shelley Duvall as the most unlucky reincarnated couple in human history. In Robin Hood's era they are robbed multiple times and left to die tied to a tree in their underwear. When we see them again, they are also on the brink of death on a historically doomed voyage. 

The most notable stop on their journey is Mycenaean Greece where King Agamemnon (Sean Connery) is found fighting a minotaur. Kevin is somehow alone, his bandit friends having been dropped somewhere else. With no other option, Kevin accompanies the King back to his palace where he is seemingly adopted by the King and really takes to the idea of staying in Greece and becoming royalty. That is until the bandits do arrive and steal Kevin away via there magical map for another strange and unexpected adventure. 

Click here for my full length review at Geeks.Media 

Classic Movie Review The Adventures of Baron Munchausen

The Adventures of Baron Munchausen (1989)

Directed by Terry Gilliam 

Written by Charles McKeown, Terry Gilliam 

Starring John Neville, Sarah Polley, Eric Idle, Robin Williams 

Release Date March 10th, 1989 

Published January 3rd, 2023 

Terry Gilliam's delirious, chaotic, and fantastic, The Adventures of Baron Munchausen, is now part of the Criterion Collection. Released in 1989, this wildly over the top, sensory overload inducing film remains, 34 years after release, as alive and full of imagination as ever. Even as special effects and cinematography have evolved past the somewhat aged looking Munchausen, Gilliam's dedication to practical effects gives his masterpiece a timeless look. 

The story of The Adventures of Baron Munchausen begins on the stage where an acting troupe is acting out the supposedly fictitious adventures of Baron Munchausen. The story kicks into gear when the real Baron Munchausen (John Neville), charges the stage and demands to be allowed to tell the story of his adventures correctly. Thus, the Baron launches into a fantastical story about his conflict with the Grand Turk, one that began with a reasonable wager and ended with the Baron and his men leaving with all of the wealth of the empire. 

The Baron's remarkable and vivid tale is interrupted when that same Grand Turk and his army begin to bombard the English city where this tale had been told. Caught off guard, it appears that the English are to be overrun by the Turks until the Baron makes a big movie, creates for himself an airship on which he will fly across the galaxy to gather his servants to help fight the Turks. Stowing away on the Baron's airship is Sally Salt (Sarah Polley), a plucky youngster who is one of the few who believes that the Baron's fantasies are real. 

And boy are they real as, indeed, the Baron takes Sally to the Moon where The King of the Moon (Robin Williams), imprisons them. There they are able to recover The Baron's top assistant, played by Eric Idle. Naturally, there is an amazing escape that leads to another remarkable adventure that includes a brief bit of romance wherein The Baron is smitten with the wife of a dangerous bandit king. Uma Thurman is luminous as the Queen while the inimitable Oliver Reed chews the very large and practically crafted sets. 

The Adventures of Baron Munchausen is a wildly imaginative masterwork. It's pure chaos but in the best possible way. The flights of fantasy and the visual delights never rest while the extraordinary cast provides even more color with big, broad, and hilarious performances. Star John Neville grounds the story with elegant dignity and roguish charm, while Sarah Polley never succumbs to the cliches of a plucky child sidekick. Her Sally is an urgent part of the plot as she plays the part of the Baron's conscience. 

Find my full length review at Geeks.Media. 

Movie Review: Fear and Loathing in Las Vegas

Fear and Loathing in Las Vegas (1998) 

Directed by Terry Gilliam

Written by Terry Gilliam, Tony Grisoni, Alex Cox, Todd Davies 

Starring Johnny Depp, Guillermo Del Toro, Tobey Maguire, Christina Ricci, Cameron Diaz

Release Date May 22nd, 1998 

Published June 27th, 2018

With Sicario Day of the Soldado opening this past weekend starring Benicio Del Toro, I was called to think of my favorite Benicio Del Toro performance. And while I enjoyed his work in Traffic, his Academy Award nominated performance, for me, his performance as Dr. Gonzo is an all time classic in Del Toro’s canon. Del Toro is the wild, raging, drug fueled id of Fear and Loathing in Las Vegas, a film itself that appears like a raging fire.

Fear and Loathing in Las Vegas stars Johnny Depp as Doctor of Journalism Raoul Duke, an alias of one Hunter S. Thompson. Thompson is famed for his gonzo journalism, a drug fueled style that earned him a loyal readership in Rolling Stone Magazine over three decades from the 60’s to the 80’s. Fear and Loathing in Las Vegas is taken from Thompson’s book of the same name about a drug fueled trip to Las Vegas that Thompson, as Duke, took to supposedly cover a motorcycle race for his magazine.

Of course, Duke has little interest in motorcycle racing. No, he’s in this for the road trip with his best friend and attorney, known here as Dr. Gonzo (Del Toro). Whether Dr. Gonzo was a real person or a Thompson creation cobbled together from several friends and fellow drug users is part of Thompson’s legend. The road trip debauchery is the focus of the movie and it starts right away with a red cadillac procured with Rolling Stone funds and a suitcase bursting with every kind of mind altering drug imaginable.

Eventually, Fear and Loathing in Las Vegas shifts gears from motorcycles to district attorneys as Gonzo has procured them a suite to attend the national district attorneys convention. Unfortunately, that is not all that Gonzo has procured as he is now in the company of a potentially underage girl, Lucy (Christina Ricci). Having just met, Gonzo has given the young girl her first taste of acid and the trip is going bad.

There isn’t much of a story in Fear and Loathing in Las Vegas, it’s a film of feel rather than substance. Director Terry Gilliam wants you to feel like your with Hunter S. Thompson on one of his famed drug trips and see the world through Duke’s eyes. This means fisheye lens and a queasy making visuals to illustrate the mind on various different types of hallucinogens from ether to acid to marijuana.

The film is remarkable at making you feel like you’re tripping right along with the characters, even if, like me, you’ve never used an illegal drug. I recall seeing Fear and Loathing in Las Vegas on the big screen and walking out into a world that didn’t look real after words. It took a little while before my eyes could adjust to the real world again and I recall liking the feeling. The film’s trippy visual is less effective on the small screen but no less artful.

Johnny Depp and Benicio Del Toro have a terrifically weird chemistry. I am not going to speculate as to the on-set drug use behind the scenes of Fear and Loathing in Las Vegas but it’s hard not to imagine that both actors don’t have some personal experiences driving their performances. Del Toro especially seems familiar with the wild emotions of mind-altering drugs with his wild eyes and bizarrely perfect sloppy speech pattern. It has the practiced, polished feel of someone trying not to let on that they are on drugs.

For his part, Depp radiates endless charisma. Even playing a bald man in bizarre 70’s costume, he still comes off as handsome and engaging. It’s a star performance and yet one pitched perfectly for this strange and unique role. Depp and Hunter S. Thompson became friends in real life during the making of the movie. So close were the two that after Thompson took his own life, Depp was part of a celebration that shot the author’s ashes out of a cannon.

Fear and Loathing in Las Vegas is a true cult classic. A strange, trippy, bizarre comic creation with wit and star power. Great performances combine with inventive visuals to create arguably THE best drug trip movie of all time. It’s a film that remains a go to for revival theaters across the country that roll the film out on a yearly basis, with the blessing and backing of its parent studio, Universal Pictures which has benefited greatly from the continuing popularity of the movie which barely eked out a profit on its theatrical release.

Movie Review The Brothers Grimm

The Brothers Grimm (2005) 

Directed by Terry Gilliam

Written by Ehren Kruger

Starring Matt Damon, Heath Ledger, Lena Headey, Monica Bellucci, 

Release Date August 25th, 2005

Published August 25th, 2005 

Director Terry Gilliam's unrelenting clashes with the powers that be have become Hollywood legend. From Brazil to The Adventures of Baron Munchausen to his famously incomplete The Man Who Killed Don Quixote, chronicled in the documentary Lost In La Mancha, Mr. Gilliam has chafed against studio orders as far back as his days as a cartoonist for the famed Monty Python.

Given his proclivity for challenging authority it seemed more than a little unusual that  Gilliam would go to work for noted control freak Harvey Weinstein for his latest film. Not surprisingly, this film also became mired in another of Mr. Gilliam's battles and has suffered for it. After languishing on the shelf for nearly two years, the compromised vision of Mr. Gilliam and Mr. Weinstein is now onscreen in the mixed up form of The Brothers Grimm.

Conflict is what marks all of The Brothers Grimm. From the behind the scenes issues between Gilliam and Weinstein such as the casting of Lena Headey over the director's first choice Samantha Morton to the conflict of the films script vs it's tone and the conflict of the films budget and special effects. Finally the conflict between Miramax and Disney that played at least a small part in the film being shelved for nearly 2 years.

Terry Gilliam nearly quit the picture after the brothers Weinstein, Harvey and Bob said no to casting Samantha Morton in the role of Angelika that finally went to the little known Lena Headey. This was followed closely by the firing of Gilliam's cinematographer Nicola Pecorini, reportedly because he worked too slowly.

Then there is the script credited to Ehren Kruger, famous for his weak-kneed horror scripts The Ring and its sequel. Mr. Gilliam claims the Writers Guild gave Mr. Kruger credit, though it was he and writing partner Tony Grisoni that delivered much of the final product.  Gilliam and Grisoni carry a credit after Mr. Kruger's as "Dress Pattern Makers".

Finally, rumored battles over the budget, compromised by the loss of MGM as a producing partner with Miramax, lead to production being shut down. Mr. Gilliam left the project long enough to complete a whole other film, Tideland. When he returned he completed reshoots, music ,and effects though not necessarily to anyone's satisfaction. The special effects in Brothers Grimm seem especially compromised. The bad cartoon CGI that brings to life the films werewolf is video game quality at best. CGI effects are still among the most expensive elements of filmmaking so one does not have to speculate as to what aspect of the film suffered the most from budget constraints.

One element of the film that survived all of this conflict is the performance of Matt Damon. As Will Grimm the huckster hustler of the Brothers, Damon turns on the charm and shows a flair for comedy that he has famously said he is terrified of. Mr. Damon would much rather play dramatic roles but when the opportunity to work with Terry Gilliam arose, he fought to take part and step outside his comfort zone.  He was initially offered the quieter part of Jakob that eventually went to Heath Ledger. The film is better for  Damon's effort.

The same cannot be said of Mr. Ledger who struggles with the more subdued role. It is ironic that Johnny Depp was once rumored for this part because Jakob as played by Mr. Ledger is a litany of mannerisms very reminiscent of Mr. Depp's Captain Jack Sparrow from Pirates of The Caribbean crossed with his effeminate intellectual Ichabod Crane from Sleepy Hollow. Homage is not a bad thing but here it only serves to make one wonder how Mr. Depp might have really played the role.

Matt Damon stars as Wilhelm Grimm, the snake oil salesman of the famous Brothers Grimm. With his brother Jakob, Wil sells stories of witches and enchantment to the villagers of hinterland Germany in the 1800's. Utilizing Jakob's scientific wizardry and knowledge of folklore, the brothers stage their ghosts and witches and lure the villagers into paying to get rid of them.

It's a profitable racket until invading French soldiers capture the brothers and force them to take on a real case of enchantment. Lead by General Delatombe (Jonathan Pryce) and his second in command, the torturous Cavaldi (Peter Stormare), the French want the brothers to determine whether a series of disappearances in a small German countryside forest are the work of hucksters like themselves or something more sinister.

With Cavaldi in tow the Brothers head for the forest with the help of a female guide, Angelika (Lena Headey) whose father and two sisters also disappeared in this forest. Once inside the group comes to a gothic tower with no visible entrance. Inside the tower is the cursed Mirror Queen whose enchantments are directly related to the missing girls. They also encounter a werewolf and trees that come to life with bloodthirsty intentions.

The plot is adventurous and fun in description but in execution it's mixed up and very confused. Brothers Grimm lurches uncomfortably between family friendly adventure and surreal gothic horror. Director Terry Gilliam is certainly comfortable with the surreal part but the family friendly adventure has never been his forte and you can sense a conflict of tone between Ehren Kruger's safe script and Gilliam's darker tones.

Movie Review Monty Python's The Meaning of Life

Monty Python's The Meaning of Life (1983) 

Directed by Terry Jones

Written by Monty Python

Starring Eric Idle, Michael Palin, Terry Jones, John Cleese, Terry Gilliam

Release Date March 31st, 1983

Published March 31st 2013 

I have a horrible confession to make, I've never really been into Monty Python. I know, I know, anyone who considers themselves a serious fan of comedy tends to be into Monty Python but I've never really invested the time necessary to master the basics of Python's absurdist sketch comedy.

Sure, I can appreciate "Monty Python and the Holy Grail" but only as much as it reminds me of a more absurd version of a Mel Brooks comedy. It was with this in mind that I sat down for a 30th Anniversary look at "Monty Python's Meaning of Life" and once again I came away with a vague appreciation mixed with a bit of revulsion and a touch of confusion.

A Sketch Movie

'Meaning of Life' isn't so much a movie, in the traditional sense of the word, as it a collection of all new, in 1983 anyway, Python material reminiscent of the popular TV series that spawned the legendary comedy troupe. These however, are preceded by a wonderfully bizarre and oddly still trenchant today riff on corporate accountants called "The Crimson Permanent Assurance."

This 17 minute short film follows a group of accountants treated as slaves to their adding machines until the geezers decide to rebel. Once having seized the accounting firm they pull up anchor, hoist the main sail and suddenly the stodgy old English building is a working pirate ship enroute to a swanky financial district seeking the most hostile of takeovers.

Even today so-called Corporate 'Raiders' remain the pirates of Wall Street pillaging any company they choose and doing bloody battle with any company that stands in their way. The fact that so little has seemed to change in 30 years is disturbing and yet it adds an even greater tickle to this already delightful short satire.

Why Are We Here?

From there we are thrust into the Python troupe's sorta-kinda examination of the meaning of life, i.e 'Why are here?' ("At this restaurant?" "No sir, on this planet") First up for satire is the miracle of birth from different ends of the socio-economic ladder. On one end a woman finds herself almost ignored by doctors, played by Graham Chapman and John Cleese, more interested in playing with high end medical gadgets than in delivering her baby.

On the other end of the spectrum a poor bloke played by Michael Palin has just lost his job at the mill and must break it to his several dozen children that many of them will have to be given up for medical experimentation. This is merely the jumping off point for a soft-hearted satire of Catholics and the Church's illogical stance on birth control via the song via the not-so subtle tune "Every Sperm is Sacred."

The opening bit is tagged with another satire, this time of Protestants, played by Chapman and Eric Idle, as protestants who mock the Catholic stance on birth control yet never seem to take advantage of the birth control freedoms the clueless Chapman praises in volume and in variety as his wife listens ever to be disappointed.

Stiff Upper Lips and other Such Things

Further portions of 'The Meaning of Life' tackle learning from the perspective of a fearful Catholic school that teaches an abiding fear of God's wrath alongside a very liberal idea of sex education. Later the subject of War is lampooned with a joyously violent birthday celebration amidst the chaos of World War 1 and a tribute to the ever stiff upper lips of the English Officer Class.

Though these segments earn solid chuckles they are the least connected to the themes of 'Meaning of Life' and a brief break in the middle of the movie, actually called "The Middle of the Movie," seems to acknowledge the lack of connection while the following scene 'Middle Age' quickly moves to excuse it by openly mentioning how disconnected the film is from the title.

Not that formalism is on order for "Monty Python's The Meaning of Life." Directed by the wildly brilliant and unpredictable Terry Gilliam and fellow Python Terry Jones, 'Meaning of Life' as a title is merely a marketing tactic meant to tie together the Python's many bright sketch ideas and a few less bright ideas.

Mr. Creosote

Least among the sketches in "Monty Python's The Meaning of Life" is one that opens Part 6 "The Autumn Years." I can recall friends and comedians referencing someone called 'Mr. Creosote' and having no idea what the reference was about. Now having witnessed 'Mr. Creosote' for myself I am re-evaluating my friends and idols.

The sketch involves an exceptionally large man, played director Jones, dining at a fancy restaurant and repeatedly projectile vomiting onto anything and anyone in range. I get the joke, it comes from the sheer lunacy of the large man and his extraordinary amount of vomit but knowing that doesn't make me laugh. The premise is flawed and the denouement of the large man exploding after eating a tiny after dinner mint is a mere ripoff of an Warner Bros. cartoon writ with more gore.

I did however, enjoy the final sketch "Death." It begins with a wildly inappropriate and terrifically funny sketch about a condemned man, Chapman, allowed to choose his method of death. I won't spoil this part as it truly deserves to be seen; I will only say that I might choose such a method death were I in a similarly absurd condemnation.

So, after thirty years, do I recommend "Monty Python's The Meaning of Life?" Yes and no. Yes, I recommend it for the truly curious who want to know more about the legendary Monty Python. However, because of 'Mr. Creosote' and another rather gory sketch involving forced liver donations, I must advise those with weak stomachs to pass on 'The Meaning of Life.'

Documentary Review Lost in La Mancha

Lost in La Mancha (2002) 

Directed by Terry Gilliam 

Written by Documentary 

Starring Terry Gilliam, Johnny Depp, Jean Rochefort

Release Date August 30th, 2002 

Published September 25th, 2002 

It's said to be the project that consumed Orson Welles. The dream project of directors as far back as the dawn of cinema. The legend of Don Quixote, the Man of La Mancha. The legendary novel by Miguel De Cervantes has been adapted as a musical, a ballet, and a straight retelling on TV starring John Lithgow as Quixote. But it was Terry Gilliam who had the grand vision of a theatrical Don Quixote. For more than 10 years he had the story in his head, and with the right cast, budget and location it looked like his vision might come about. As the documentary Lost In La Mancha details, Gilliam had the vision, but vision and reality can collide in the most all consuming ways.

In August of 2000, Terry Gilliam arrived in Spain to begin pre-production on The Man Who Killed Don Quixote, his grand reimagining of The Man From La Mancha. With a budget of $38 million, all raised from foreign investors, the film would be entirely non-Hollywood and the largest European financed film ever. However with Gilliam's unique vision, it was also about half the money the production needed.

Production pressed on with costumes, sets and location scouting as problems emerged. One problem, the film had no stars. Though Johnny Depp and French actor Jean Rochefort had signed contracts, neither actor had found time to come to Spain for rehearsal. A bigger problem loomed with actress Vinessa Paradis who had verbally agreed to play the female lead. She had not signed a contract for some two weeks until shooting was to begin.

In Gilliam's story, Johnny Depp played Toby, a man who by some quirk is sent back to the time of Don Quixote who then mistakes him for his colleague Sancho Panza. Toby joins Quixote for a uniquely Terry Gilliam adventure through the book’s many wildly romantic adventures, tilting at windmills and such. It certainly sounds fascinating on the page, and with Gilliam's visionary resume (Brazil, Fear and Loathing Las Vegas and The Adventures Of Baron Munchausen), it was certain to be like no retelling of the legendary story ever.

Early on, even as shooting began, the clouds of doom hung over the production. Sometimes literally clouds hung over as a massive thunderstorm washed out two full days of shooting. The film's biggest tragedy however wasn't strikes from Mother Nature. Seventy year old Jean Rochefort, who was Gilliam's ideal choice for Quixote, who had taken 7 months to learn English for the film, fell ill. Before shooting began, Rochefort had a scare with a severe prostate problem. Once shooting began, the problem was made worse by the requirement that Rochefort ride a horse. As it turns out, Rochefort had two herniated discs in his lower back, which prevented him from riding a horse.

Because Rochefort was signed as a principal cast member, insurance contracts prevented the role from being recast without shutting down the production. Shut down the production and you lose your investors. You can't make Don Quixote without Don Quixote and so despite the visionary director and his talented crew The Man Who Killed Don Quixote was repossessed by the insurance company where it remains in limbo.

The story is somewhat small for a big screen rendition, essentially boiling down to a battle with an insurance company who aren't portrayed as bad guys, merely as realistic businessmen. The film’s foreign producers, Bernard Bouix and Rene Cleitman, are also not the bad guys, though somewhat unrealistic in their expectations of the production. They nevertheless seemed to have the best interest of the film at heart.

The one element that makes Lost in La Mancha a fascinating story is Gilliam. The few scenes where the visionary filmmaker is actually working are mesmerizing. Gilliam clearly has an amazing idea he wants to communicate. The film he wants to make would no doubt be brilliant if he could realize it.

Much like Orson Welles, whose vision of Quixote never made it to the screen (His was completed by another filmmaker after his death but not to Welles' specifications); the outsized romanticism of the project eluded Gilliam. Though if the elements could just come together as he sees them in his head, you know from Lost in La Mancha that it could be brilliant.

Movie Review: Tideland

Tideland (2006) 

Directed by Terry Gilliam 

Written by Tony Grisoni, Terry Gilliam

Starring Jodelle Ferland, Brendan Fletcher, Janet McTeer, Jennifer Tilly, Jeff Bridges

Release Date October 27th, 2006

Published November 17th, 2006 

Writer-director Terry Gilliam has always directed his fantasies. Be they weird or myopic or paranoid, Gilliam directs entirely from his imagination, practical concerns be damned. His latest dream-scape is a perfect example. As Gilliam is forced to admit, in a bizarre opening behind the scenes prologue, Tideland is his own fantasy of what life would be like if he were a pre-teen girl. Based on a novel Mitch Cullen, Terry Gilliam's take on life as a tween girl is even more disturbing and bizarre than even his most ardent fans may expect.

Jeliza Rose (Jodelle Ferland), the daughter of a pair of serious heroin addicts, watches first her mom (Jennifer Tilly) and then her dad (Jeff Bridges), die of drug overdoses. The heroin prepared for mom and dad by Jeliza herself, causes her to recede into her self created fantasy world where a witch named Dell (Janet McTeer) and her mentally challenged henchman (Brenden Fletcher) become her pseudo family and the doll heads she wears as finger puppets carry on long, imaginative conversations with her.

Terry Gilliam isn't kidding when he claims this is what his life would be like were he a pre-teen girl. Wild, imaginative, perverse visions of love, death, sex and parenthood are all themes that Gilliam has tackled before. However, Tideland takes Gilliam's extreme fantasies to a whole new level of perversion. Perhaps Terry Gilliam has finally tweaked a puritan part of my brain but I find there to be something very wrong about presenting a Terry Gilliam fantasy through the eyes of this little girl. 

This is a fantasy that includes not just the drug overdose deaths of two parents from heroin doses administered by their own daughter but also the subsequent gutting, embalming, and slow decomposition of the father as the child continues chatting away as if dad were just napping. Then there is the creepy pseudo-romance. The pre-teen girl has a childish dalliance with the mentally challenged guy. In scenes that are both creepy and strangely sweet these two people who have no idea what intimacy is engage in the kind of childish exploration that would be cute if the mentally challenged guy weren't in his mid-twenties and quite insane.

There is, at the very least, some exceptional visual artwork in Tideland. Cinematographer Nicola Pecorini does some fine work giving vivid life to each of Terry Gilliam's most twisted ideas. For better or worse, the look of Tideland is as impressive as the story is disturbing and horrifying. And yet, Gilliam doesn't treat the horror as horror, there is a distinct sense of dreamlike fantasy, not light-hearted really, but Gilliam is not leaning into the horror that is very much present in this story and while some find that dichotomy compelling, I found it repellent. 

Every experience Terry Gilliam's pre-teen protagonist has, from watching both parents die, to the creepy mentally challenged 'boyfriend,' to the presence of the witch in her fantasies, are all played to such a low key whimsy that they barely register. You may watch in horror as scenes of degradation and dark humor play out, but you will also likely find your mind wandering as Gilliam underplays the horror of the scene in favor of  playing off a more goofball dispassionate response from this deeply troubled and traumatized young girl.

Terry Gilliam has demonstrated the genius of his myopic, selfish approach to film-making in movies as varied as 12 Monkeys, Brazil, and Fear and Loathing In Las Vegas. In Tideland however, he takes that weird personal vision to its navel-gazing nadir. This is a movie made by Terry Gilliam for Terry Gilliam and while I admire any filmmaker who doesn't bow to audience concerns about what the majority of people want to see, that doesn't make a movie like Tideland fun to watch.