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MOVIE REVIEW 'Hardcore Henry' is the ultimate violent ride Comment By Chris Honoré for Revels DailyTidings.com By Chris Honoré for Revels Posted Apr. 14, 2016 at 12:01 AM By Chris Honoré for Revels Posted Apr. 14, 2016 at 12:01 AM » Social News Hardcore Henry ; 95min; Rated R The point of this critique is not to encourage or discourage you, the filmgoer, from seeing the recently released “Hardcore Henry.” In fact, I would expect that this film would appeal only to those cinephiles who are willing to push the farthest edges of the envelope when it comes to dedicating a chunk of time to a movie. What “Hardcore Henry” provides is an opportunity to discuss what might be considered the ultimate merger between feature-length films and contemporary, hardcore videogames. I don’t think it’s a stretch to assume that the precursors to “Henry” are the seemingly countless DC/Marvel films (aka big-tent blockbusters) that have consumed our summers over the last decade or more. While they stich together the thinnest of stories (superhero v. one-note villain), leavened by the most benign romance, their focus has always been action. The fact that they are short on coherence makes no difference; instead, when reduced down, they represent a visceral viewing experience. Writers soon learned that if they threw in too much exposition, the audience (mostly teens and tweens) would grow restless. Show me, don’t tell me. Telling is boring. Those niche films that do focus on what might be called, using a referent of writer Steve Almond, “the moral imagination” and involve interior monologues (e.g., voice overs), or a narrative that grapples with the complexity of relationships through dialogue and subtle personal choices are often thought of as “Indie” or “Art House” films. Consider those offerings that break during the fall months prior to the awards season. As Almond states, it isn’t that we’ve lost our capacity to tell stories. It’s just that there’s been a cultural shift and those who are storytellers (artists, journalists and academics) have been in great part marginalized. “On a grand scale,” writes Almond, “we’ve traded perspective for immediacy, depth for speed, emotion for sensation.” Which brings us back to “Hardcore Henry.” Consider this film a perfect melding of film and video games. Actually, it was filmed using a GoPro digital camera attached to the helmet of the protagonist/stuntman (Henry). Everything is shot from his point of view. What he sees, be it climbing up a rope toward the open cockpit of a helicopter, is shot from his perspective. He is never revealed; but then how can he be? The camera only records what’s in front of him. And what’s in front of him is what is taking place either to him or the result of actions taken by him, all ultra-violent involving a huge body count. To what end? Don’t ask. Well, there is the videogame Point B. “Henry” is devoid of all narrative. There is no dialogue, not a shred of exposition, not a moment of backstory. All that is known about Henry is that he is a quasi-cyborg with amnesia. How he got that way and why is unknown and in the end immaterial. Consider “Hardcore Henry” as the ultimate, self-referential, postmodern gamer/big-screen film stripped of all narrative. It’s the ultimate violent ride. The only thing missing is a joystick … and, of course, a structural narrative. But then good, engaging story telling is so retro. By Chris Honoré for Revels DailyTidings.com By Chris Honoré for Revels Posted Apr. 14, 2016 at 12:01 AM » Comment or view comments Reader Reaction » STAY INFORMED Email NewsLetter Sign Up Today Sign up for our newsletter and have the top headlines from your community delivered right to your inbox. Southern Oregon Directory Featured Businesses Loading... 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