By Zack Gill
Staff Writer
Clocking in at an almost absurdly brisk eighty-three minutes, Gregg Araki’s new film “Kaboom” packs in the action, wit and plot of a season of television all in one slim package.
“Kaboom” has all the elements of a cult classic: striking imagery, over-the-top violence, and a witty script. In returning to the familiar ground of his transgressive nineties comedies, filmmaker Gregg Araki completely reinvents himself, with a hilarious script accompanied by impressive filmmaking.
In between cinema classes and hook-ups, bisexual college student Smith (Thomas Dekker) begins to have strange dreams. After witnessing a woman murdered by men in animal masks, Smith, his best friend Stella (Haley Bennett), and his occasional lover London (Juno Temple) get entwined in an occult conspiracy.
Along the way, Smith must also deal with his attraction to his straight roommate, dim-witted surfer Thor (Chris Zylka) whilst Stella must fight off the furthering advances of her girlfriend Lorelei (Roxane Mesquida), who also happens to be a witch.
“Kaboom” definitely differs thematically from Araki’s acclaimed child molestation drama “Mysterious Skin,” but carries significantly more weight than his previous effort, stoner-comedy “Smiley Face.” Indeed, the script for “Kaboom” is all over the place, setting off as raunchy comedy, passing through subtle indie romance, and then veering to a thriller.
No matter what genre “Kaboom” emulates or spoofs, it’s completely convincing and hilarious. It has better zingers than “Juno” and is brimming with absurdity, comic relief coming from doomsday cults and clingy lesbian witches.
Although “Kaboom” is tonally similar to many of Araki’s films of the nineties, it far surpasses them aesthetically. “Kaboom” is an intensely colorful film. Shots are often vivid and striking and the palette provides “Kaboom” with a sense of heightened reality that the script so often strives for. In addition, Araki’s camerawork is excellent. “Kaboom” extensively uses split-screen. The typically overdone technique is used to good effect in “Kaboom”– it supports the films brisk pace with no need for cumbersome editing during telephone conversations.
“Kaboom” has memorable performances all across the board, but most prominently from Dekker, Bennett, and Temple. Thomas Dekker (previously seen in the lone good season of “Heroes” and in the underrated “Terminator: the Sarah Connor Chronicles”) portrays protagonist Smith with sincerity and capability. As the moral center of the film, Dekker plays a character to root for. Hailey Bennett is this year’s Ellen page, but is way more fun to watch. Temple is forced to perform throughout many of the tonal shifts of the movie, and despite some hilariously overwrought plot twists involving her character, she remains convincing throughout.
Araki’s music selection in “Kaboom” is consistently exquisite. Araki knows what’s hip, and the music gives the film credibility; music in the film is what the characters would be likely to actually listen to. The music also gives the film atmosphere. As he does in every single one of his films, Araki extensively utilizes shoegaze music, the dreamy hues of which perfectly compliment the insanity of “Kaboom.” Best of all, the songs are never distracting.
Despite its generally campy tone, “Kaboom” portrays gender roles in a manner more compelling than most dramas the broach the subject. Many, if not all of the characters of “Kaboom” exhibit fluid sexuality, with partners of both genders. While this isn’t exactly new in cinema, “Kaboom” portrays modern sexuality with the odd blending of bluntness and sensitivity. Every on-screen coupling correctly conveys the intended emotionality – from awkwardness to intimacy.
“Kaboom” is the rare film that can please crowds and sustain cinematic credibility. The film is not rated and is available in Los Angeles only through Time Warner Cable on demand.
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