Proxy [DVD]

Marketing Note: First things first, I have to address the Blu-ray/DVD marketing of "Proxy" as it completely misrepresents the movie itself. The blurb that is front and center on the cover art from the Los Angeles Times claims this to be "A worthy successor to Rosemary's Baby." Huh? There is absolutely NO comparison to be drawn between this film and Polanski's demonic tale. If you seek out the movie on the strength of this connection, you will be as mystified as I was by how utterly dissimilar the two experiences are in every regard. It's a poor marketing decision that will lead to many a dissatisfied customer who might purchase or rent this film thinking it is something that it is not.

Off my soapbox, let's turn our attention to Zack Parker's "Proxy" for its own merits. It is tempting to imagine that "Proxy" might be a gore soaked horror extravaganza from the aforementioned marketing choices. And, indeed, that's what I anticipated. So beware if you want a horror movie in the traditional sense. Instead, "Proxy" is a disturbing psychological thriller where every character seems to have a tenuous grasp on reality. It's almost hard to discuss any aspect of the film as doing so is almost a disservice. The joy of a movie like "Proxy" is that you have absolutely no idea of where it is headed. Graphic acts of violence and bold plot twists punctuate this unsettling tale of obsession and revenge. From an opening act of brutality that will instantly turn off squeamish viewers, I was completely surprised by this movie. As two women (Alexia Rasmussen and Alexa Havins) befriend one another, it soon becomes clear that each might not be what they seem. The movie quickly becomes a creepy exploration of obsession. But just when you think this unhinged tale is going down a fairly traditional "stalker" path, it upends everything.

Supporting characters include Joe Swanberg as Havins' husband and Kristina Klebe as Rasmussen's lover. While the central women inhabit the first half of the movie, these additional characters grow in significance as things progress. "Proxy" is certainly not a perfect movie. I'm still perplexed by a side plot witha delusional Swanberg that is never explained and Klebe could certainly use some restraint. But my misgivings are overshadowed by the utterly unpredictable nature of the movie. As most of the films that are produced these days are cookie cutter carbons of every other movie (or sequels or remakes), it's hard not to champion something that still has the ability to shock, provoke and surprise. Even with some plot holes and some amateur theatrics, "Proxy" earned my admiration by never playing things safe or traveling a conventional route.

Is "Proxy" a movie for everyone? Undoubtedly not. It can be extremely unpleasant, to say the least. But it has a gonzo over-the-top appeal that should strike a chord with more adventurous movie-goers. Remember, though, this is a slow build drama that takes its time building to its twists and turns. If you're looking for non-stop horror and carnage, this more thoughtful approach might not be for you. But by spending time with the characters, it makes all that happens that much more horrific. In the end, I've told you almost nothing about the movie and that's as it should be. I went into this experience having no idea what was forthcoming and so should you for maximum effect. Disquieting, upsetting, and supremely dark, "Proxy" was a pleasantly disturbing surprise for me. KGHarris, 8/14.

Proxy, a smart and suspenseful American independent film directed by Zack Parker (Scalene), opens with a scene of bracing violence which at first repulses and stuns very directly, but later demands closer reassessment. Central character Esther (Alexia Rasmussen), pregnant and nearing her due date, is on the way from her doctor to the bus stop when she is assaulted. She survives what we presume is a random act of violence, but loses her baby, prompting her to join a group for grieving mothers. In group, she meets Melanie (Alexa Havins), a warmhearted suburban housewife who lost her son. They become unexpected friends, a bond complicated by the fact both women are guarding dangerous and disturbing secrets. Over two hours, Proxy twists and turns in various directions, inspiring genuine surprise and tension as it examines the way the cultural image of motherhood, as well as its day-to-day responsibilities, blends with the characters' psychological disorders. It is a delight to see a film able to upend expectations at almost every turn while always complementing the intricate and theatrical structure of its storyline with ample character development and formal elegance. It is a rather hard film to critique without spoiling its host of macabre bombshells and jolts, but know the investment of both time and attention is definitely rewarded.

PROXY is Zack Parker's 5th full feature length film and, let me tell you, he turned it up to eleven with PROXY. This isn't your run-of-the-mill low-budget indie norm that you see around the festivals year after year but rather a step out into waters that not many directors (or writers) care to go too often.

PROXY is one movie that I would consider one of the least predictable films out there currently (maybe history??) that didn't leave me feeling empty or bored. Zack has this style of film that forces audience to come to their own conclusions without spoon feeding them to death. If you ever caught him previous feature, Scalene, then you will know what I mean. Scalene played on human perception while PROXY plays on parenthood and how the human mind deals with tragedy. I won't lie, this movie has a couple tough moments to watch but the wonderfully shot cinematography and how he paints the small Midwest town of Richmond, IN just makes you continue through it.

To top it off, The Newton Brothers' score is infused with elements of the Bernard Herrman/Hitchcock era mixed with Krzysztof Komeda's sound to Rosemary's Baby. These elements make up a sound that hasn't been present in film music in a long time now and it certainly fit the tone of the movie perfectly.

Check PROXY out if you want to experience something different, if you want to experience something original, and if you want to support a High Class Indie at its finest.

"Proxy" makes the mistake of making very specific connections amongst its characters and in its storyline yet sprinkles the world its created within its frames of celluloid with plot holes like some sort of crater-loving Johnny Appleseed. The common thread in the film only seems to be insane behavior with little to no explanation.

After Esther loses her baby, you're introduced to her lesbian lover Anika (Kristina Klebe) who is basically a complete knockoff of Lisbeth Salander from "The Girl with the Dragon Tattoo." Anika is covered in tattoos and a complete freak in the bedroom. This is something the film points out on more than one occasion. Anika is incredibly vindictive through and through. She enjoys Esther's company because of her craziness.

Meanwhile Melanie's husband Patrick (Joe Swanberg) is not a good father. He's more infatuated with trying to come off as the "cool dad" than anything else. The Patrick character goes through some really funky stuff in the film. Something tragic happens to him and Melanie that affects them both. Melanie begins edging back into society while Patrick kind of retreats internally and resorts to brooding. The character begins having delusions that mostly revolve around torture. The way they haphazardly leave a shotgun lying around makes you wonder why tragedy didn't strike them sooner.

If you dig a little and stretch what little substance is there, "Proxy" attempts to say something about people dealing with the grief of losing someone close to them, how the loss affects them, and overcoming what seems like crippling depression. But the film seems to illustrate that everyone under those conditions gives in to wrath and revenge especially when it comes to the Patrick and Anika characters.

But none of the characters feel genuine. None of their actions seem like logical, real-life conclusions. The film is very slow-moving and bogged down from uneventful and long strings of dialogue. While "Proxy" is listed as a horror, it's not scary. The scariest part is getting through the entire thing. The film's highlight is a slow-motion shotgun blast sequence in a bathroom, but even that is laughably bad thanks to how thick and jelly-like the blood appears. "Proxy" only seems to illustrate that stupid, insane behavior is spread by proxy and everyone suffers, including the film's audience, because of it.

Skip the Prozac, Vodka and Heroin, or quadruple-up on artificial joy! God it feels good to use exclamation marks! Yeah! Bring the kids, 'cause it's a guaranteed explosion of fun and happiness for the whole family! Yeah!!

An introverted young woman named Esther, suffering from the purest case possible of Munchausen-by-Proxy, fires off a chain-reaction of suffering, vengeance and violence as shocking as it is completely ridiculous. After being artificially inseminated, she convinces her angry and unstable lesbian girlfriend Anika to 'surprise' her in an alley outside the obstetrician's office, knocking her unconscious and using a brick to brutally terminate the fetus after several months of pregnancy.

Her extreme ploy for sympathy and human contact leads her to a support group for those who have lost loved ones. A kind and outgoing woman named Melanie reaches out, and Frau Munchausen quickly becomes obsessed with her. A drunk driver killed her husband and son, or so she says... When Esther sees Melanie in the park with her supposedly dead child, very much alive and well, she assumes that her lies at the support group meetings are expressions of an unfulfilled wish, and that Melanie is exactly like her. She finds her way to the family's home, and drowns the toddler in the bathtub. Esther is surprised when Melanie is emotionally devastated by the discovery of her dead son, and tries to explain instead of moving on to kill the husband. He returns with a shotgun (inexplicably), and kills Esther.

The focus then shifts to Melanie, by necessity, and to the husband, Patrick, who takes a surprising left turn to insanity and overwhelming creepiness. He suspects that there was some kind of connection between Esther and Melanie, but she admits nothing. Anika, meanwhile, is determined to avenge her lover's death, and another violent collision is inevitable.

Written and directed by Zach Parker, this film is unrelentingly grim and fairly brutal. The plot becomes less and less believable, but crazier stories than this end up as headlines on a regular basis. I don't know what to say about 'Proxy'; watching the misery unfold doesn't make me feel better about anything, which makes me wonder what it is that support group fakers like Melanie get from wallowing in the unfiltered suffering of others. I will admit, however, that most of my favorite works of art, literature and film are reliably dark and brutal; 'Blood Meridian' and 'The Road' are damn near nihilistic, and yet they're at the top of the list. There's just something lacking in 'Proxy'. Nothing redeems it. It reminds me, in some ineffable way, of a far less imaginative 'Irreversible', by Gaspar Noe; that film gave the viewer an entirely uncompromising tour of hell, but by tracking the horrific events backwards in time, they took on a strangely poignant significance. There is no alchemical process at work in 'Proxy', turning lead into gold. Base materials remain base. If you decide to watch it, have fun and hide the razor-blades.

Damn it! Spoilers, SPOILERS! I forgot to add a spoiler alert. Well, there's nothing I can do about it now, it's carved in stone.