The thing with a delicious surprise that drives you crazy The pain in my throat doesn’t matter. It’s just a side effect of being the funniest person in history. It is much more important to wait for the girl with a stupid face to come back.
© "Ramekin"
"Ramekin" is so bad it's good. Very good. But it's still bad.
Someone Cody Clark, once imagining himself the director of a strange and bloodless “room thrash”, later made “Attack of a giant fuzzy finger” and seems to be preparing some other fun projects (whether they will reach the Russian audience – that’s the question). It would be interesting to talk to him live: such dudes clearly have a craving for no one understands experimental ideas beyond the foul. Clark is subject to an amazing sense of delusion, but he implements this nonsense as correctly as possible, without going into frank “meat porn”. His only problem is that, due to the obvious lack of big budgets and a much more advanced team, as well as the desire to at least slightly pump up the taste, such an absurd plot does not turn out to be truly juicy and crazy in its production.
The frank, undisguised, deliberate stupidity of everything that is happening is, of course, worthy of great praise. Against the background of the rest of the produced treshak with ratings below the plate, all these perversions on the topic of how to malign tomatoes from space, vaginas, tires, refrigerators, spermatozoa, hamsters, corn, mushrooms, plates, forks, spoons and other miscarriages of creative fantasies, the damned ramekin (ceramic form for souffle and cream brule) looks at least original. Because not everyone knows what the hell it is (unless you’re a culinary maniac, of course). So, unlike the films with the above personalities, usually built on the same pattern of incessant murder, "Ramekin" pleasantly surprises: here the subject, being a manipulator, takes the main character hostage in order to plunge into his incomparable world of psychosis. Love, abuse, Stockholm syndrome - a complete set of pleasures.
A girl's dialogue with an object is something. Talking to someone else is also something. She's basically something. We can say that this tandem is perfect. Like some mounting solutions, in some places sterile accuracy of the camera and chucking sound effects steps. For such a film I want to love with all the immoral fibers of my soul. Of course, contrary to any manifestation of common sense.
However, there are two things that prevent love from coming true. One: hello, again, this common sense of yours trying to crawl out from under the immoral fibres and shout about its existence before it's too late. The second: no, honestly, if you play it big, and if you shoot it is whippier and more incredible. So that the signs of an amateur approach do not stand out so clearly. So that in an absolutely idiotic acting game there is no craving for blatant amateurism. To make the absurd as much as possible embedded in realism, without trying to turn it into an unnatural puppetry, and the escaped operator at least once took the camera in his hands, giving the tripod a rest. Just to make an effort – and it would have been more or less a quality product of average pozra for the audience, who have nothing to surprise, except a magnificent flight into a complete absurdist heresy.
And so “Ramekin”, for all its merits, predictably remains a film, completely optional for viewing.
4 out of 10