Review: Dogs Don’t Wear Pants is a twisted love story about broken souls
If there’s anyone who watched Fifty Shades of Grey and was unsatisfied with…well, everything, then I advise you to check out the Finnish film Dogs Don’t Wear Pants. Co-written and directed by J.-P. Valkeapää, it’s the BDSM love story that people (or maybe just a few select people) have been waiting for.
I’ll be blunt here; this film is not for everyone. It would be shunned by “normies”. The village people will come with their torches and pitchforks if recommended to them. It’s not only extremely sexual in nature but also a bit grotesque, small stuff that will make you squirm (nail pulling, wax melting on a person’s skin). However, don’t let that or the leather-clad woman that could be Pinhead’s niece on the front cover fool you. This is not a horror movie.
I know some might assume that it is because it’s on Shudder and deals with sadomasochism, but Dogs Don’t Wear Pants is not horror. Although it is exceptionally dark. The horror presented in the story comes from emotional turmoil and mental anguish.
The lost connection
A widower, Juha (Pekka Strang) is unable to move on after his wife’s death. Years of loneliness makes him desperate for an intimate connection with another human being. The film opens with his wife (Ester Geislerová) going for a swim in a lake outside their house while he’s sleeping. He’s awoken by their crying daughter and realizes that his wife has gotten trapped in their fishing net.
By the time he realizes this it is too late. She’s drowned, and he almost drowns trying to save her. Suffocating underwater, tangled in both her hair and the net, he imagines swimming beside her as he drifts towards death. That’s the moment a fishing boat hauls him up, saving his life.
His existence then comes to a halt. Not just because he’s lost his wife, but because he feels that he should have died with her. Even though he has their daughter to care for, death becomes an anesthetic fantasy for Juha.
Here, pain isn’t pleasure but a reminder
In the beginning, Juha is very robotic. He cleans the house, does his job, and speaks to his daughter as if he’s never 100% present; he has forgotten how to feel. Although he continues to crave his wife’s presence, he’s grown accustomed to life without her. He’s losing more and more and soon, there’ll be nothing left. Things change, however, when he meets Mona (Krista Kosonen), a mysterious dominatrix that, at her core, is as vulnerable as Juha. By the way, if the title doesn’t make sense to you, it will once you see Mona and Juha’s first “session”.
Through Mona, Juha is able to temporarily reunite with his wife to the point where the lines start to blur. His mind and heart begin to see Mona as the woman that he’s lost. It’s an extremely unusual form of therapy. Mona is no dummy by the way. She can see that Juha wants to die, that he misses someone, and it breaks her heart. They’re two broken souls looking for love.
Their relationship is treated almost like an addiction, and just like any other addiction, the question of their next fix is always on their minds. More so in Juha’s case, but there’s a complication in the form of his alienated daughter Elli (Ilona Huhta). He tries to maintain an aura of normalcy around her but he fails spectacularly. Hard to act normal when you come home every day covered in bruises.
Elli is actually the one thing I would change about this movie. A potentially vital character reduced to a background display. She’s a lonely teenager with a father who skips her music concert to be strangled by a dominatrix. She’s used only to further deepen the weight of Juha’s home life.
Wicked but beautiful
This is a twisted movie. There is no other way to say it, though it’s not what I expected. The same way you’d break away a shell to see what’s inside, the characters tear away their former identities to get at the untouched being hiding underneath in a most uncomfortable way.
The force behind Mona and Juha’s connection is almost overbearing. Just the way the heroine slaps her clients, Dogs Don’t Wear Pants slaps you hard across the face, or whips you across the face. Whichever you prefer. In the end, Juha doesn’t reunite with his wife, but he gets a proper goodbye. A way to move on.
Aside from Elli, the only other character the film should have spent more time on is Mona. She’s the center of Juha’s world but we hardly know anything about her. She has her own troubles. That much is clear, but the film keeps her at a distance. Treating her like a mythical creature that Juha comes across and worships. The rest of the film is great though. A true arthouse production.
(3.5 / 5)
All photos are property of Shudder and the Helsinki Filmi production company
Last night’s episode of American Horror Story Delicate was wild. From its star-studded start to its powerfully quiet finish, I was enthralled through every moment.
Let’s discuss.
The story
We begin this episode at the funeral of Dex’s mom. While he’s giving a eulogy, which was very nice, Ms. Preecher walks in. She shouts to the room that Virginia didn’t commit suicide, she was murdered. She also tells Dex to listen to his wife.
What a concept!
Touched by this, or maybe just curious, Anna goes to the hospital to check on Preecher. She falls asleep at the hospital. When she wakes up, Preecher is gone. A nurse says that she was discharged to a group of women.
While at the hospital, Anna also discovers that she’s been nominated for best actress.
At a publicity event for the awards, Anna runs into Cora. And she sees the coat she remembers from her late-night visit near the start of her pregnancy.
With the slightest amount of pressure, Cora spills it all. She and Dex have been having an affair, and Cora was trying to sabotage Anna’s pregnancy. So Anna, channeling her inner Madison Montgomery, kicks him out and heads to the awards ceremony with Siobhan.
There, Siobhan asks her if she wants an Oscar more than anything. If she’d be willing to give up anything for it.
And Anna says yes.
The bargain is then sealed with a kiss.
What worked
I’d like to begin, paradoxically, at the end of the episode. We’ve seen Anna have some terrible, loud, frightening hallucinations in this season. At least, we assume they’re hallucinations. But this one wasn’t loud. It was, in fact, very quiet. Anna is led off stage, without a word, leaving nothing but a puddle of blood behind.
In horror, like in all art, the notes you don’t play are as important as the ones you do. And the notes that weren’t played her rang like a bell.
I also appreciated that this episode describes why being a celebrity would be a huge pain in the ass. Imagine going to an event where the whole purpose is for people to take pictures of you while holding their product. Imagine if they invaded your personal space, sprayed things on you, put things over your eyes, and you were expected to smile and pose.
I don’t know what it is about being a celebrity that makes others feel entitled to a person. To talk with them, take their time, and share in their moments. To touch them without consent. Yes, there are way worse things happening to people. But this isn’t a great way to live. It’s no wonder so many of them go nuts. This is most clearly shown in the scene when Anna is sitting next to Preecher’s bed. She wakes up to find the older woman gone. But all anyone wants to talk about is how she was just nominated for an Oscar. At that moment, she doesn’t give a damn. She cares about this kind woman, and where she’s gone. Just like any other person.
Finally, I appreciated that this season didn’t do what so many AHS seasons do. Which is to say that this episode didn’t feel like the last episode. It felt like the penultimate episode. It felt like there was still more story to tell, not just loose ends to be wrapped up. I appreciate that the writers have finally learned that lesson.
For this season, at least.
What didn’t work
The first thing that bothered me in this episode was Cora’s confession. I said something about this during our live-watch event on Threads. (Join us next week for the finale. Bring popcorn and wine.)
I don’t believe Cora’s confession. I further don’t believe that she just dumped all of this incriminating info on Anna with no more prompting than a wide-eyed look. There was just no reason for it. So, Anna saw her coat? Lots of people have similar coats. This feels fake, and she brought no receipts.
I also found Siobhan’s behavior confusing. At times she seems genuinely concerned for Anna’s wellbeing. At other times, she is more than willing to let her suffer and risk her pregnancy.
While this has been going on all season, it was happening every few minutes in this one. Either Siobhan cares about the welfare of that fetus, or she doesn’t. But she needs to pick a lane.
All in all, I don’t know what to expect from next week’s season finale. Anna has her Oscar, but now she might lose her baby. She might also get sucked into some horrible cult and experience a bad death. We won’t know until next week.
See you then.
(4 / 5)
Episode two of Amazon Prime’s Fallout was equal parts funny and bloody. This almost always leads to a good time.
The story
We begin this episode with the birth of some puppies that look like they’ve had a rough start to life. Each one is weighed, with the ones who fall short being incinerated.
One pup who is just below the correct weight gets a bit of a thumb on their scale. The scientist weighing them, Wilzig, writes down the proper weight. He later takes the puppy home to raise instead of putting them into what looks like an unforgiving training program.
Eventually, we see Wilzig put some blue glowing thing into his neck. When a soldier comes for him, Dog attacks the soldier, and the two escape.
We go from there to the wilderness, where Lucy is recovering from the last episode and enjoying a campfire at night. Wilzig and Dog come out of the shadows, saving Lucy from a bug monster. Wilzig tells Lucy she should go home. And if she’s not going to go home, she needs to evolve.
The next day Lucy finds her way to a town called Filly. As a Pennsylvanian, it hurts me to spell it that way. Lucy is entranced by this town, though clearly put off by the fact that no one is very nice here.
She eventually finds her way to a shop run by a delightful woman named Ma June. Ma doesn’t seem particularly interested in helping Lucy. Or, frankly, having Lucy in her shop.
Or in her town.
Eventually, Wilzig is tracked to this same shop, being tracked by The Ghoul. This is our final primary character. Lucy defends Wilzig, being aided at the last moment by Maximus.
Maximus, by the way, has been having a terrible time. After finally becoming a squire he’s disappointed to find that his knight, Knight Titus, is a terrible person.
Fortunately, Maximus doesn’t have to put up with Titus for long. After Titus gets the bright idea to go hunting, he’s attacked by a mutated bear. Maximus freezes, unable to save him. Then, well, he decides not to save him.
It was Titus’s idea to go hunt the bear, after all.
What worked
The first thing I want to draw attention to is the shootout scene at Filly. This scene checked every box a fight scene should check. It was fun to watch, with great effects. But it also gave us insight into the characters. Lucy is a decent fighter and has a strong moral compass. The Ghoul is callus and desensitized to death. And Maximus continues to be, well, sort of bad at this whole fighting thing. But with enough moral fortitude that we have a hard time blaming him.
Of course, I would be remiss if I didn’t mention the dog. Who’s name, as far as I’ve been able to ascertain, is just Dog. Which is fine. He doesn’t need to have a name to be a very good boy. He’s sweet, loyal, and fearless.
Also, puppies. Puppies are always great.
Finally, I’d like to shine a spotlight on Lucy’s reaction to the world at large. She is both amazed and terrified by everything. And while she certainly doesn’t want to be rude, she also doesn’t want to be taken advantage of. The best example of this is when she stops to ask for directions with a bright smile and a gun.
Once again, I don’t have anything bad to say about this episode. It was funny, dark, and fun to watch. I’m very much looking forward to the rest of the season.
(4 / 5)
Launching with worldwide excitement, Fallout is based on the extremely popular game series of the same name. Fans of the series have waited with anticipation and trepidation to see if the Prime series would live up to the game.
Having now watched the first episode I can say that, so far, it’s successful.
The story
Our story begins with a children’s birthday party. A performer is there with his daughter, giving horse rides and taking pictures with the kids.
As much as the adults try to focus on the party and the kids, it’s impossible to ignore the looming threat of war that’s on everyone’s mind.
Of course, it’s during this party that war comes, and the bombs drop.
We then cut to after the war and into one of the vaults established to protect humankind and the American Way. For future reference, this is Vault 33. We meet Lucy, our first main character, who’s petitioning to be married to a man from Vault 32 to ensure DNA diversity.
On the wedding night, though, Lucy and the rest of Vault 33 are met with a horrible surprise. The group they let in is not in fact from Vault 32, but is instead a team of raiders from the surface. The raiders kill a lot of the vault dwellers and kidnap Lucy’s father.
We are then introduced to our second main character, Maximus. He is in training to become a Knight in the Brotherhood of Steel. And, well, he’s not doing great.
Things get worse when his best friend Dane becomes a squire before him. But when Dane is hurt, Maximus gets their spot.
We then go back to Lucy, who has decided to leave the vault and find her dad. Of course, the council of her vault doesn’t want her to go. So she is aided by her brother Norm and cousin Chet in a wild escape.
What worked
The first thing that deserves attention is the exceptional character work. Our three main characters are fleshed out and relatable right away. We feel sympathetic for The Ghoul before he’s even introduced as such. We love Lucy’s nativity and selflessness. And we love Maximus for his honesty and passion for his cause.
While these characters are their own people, they also exhibit the three responses we might expect to see in a post-apocalyptic world. We have the hopeful optimist who doesn’t understand how bad things are. We have the aspiring hero who wants to make the world better by force. And we have the self-serving individual who’s given up on the rest of humanity and is only focused on surviving.
Another thing I enjoyed about this episode was the balance of humor and gore. Because there was certainly enough blood and guts for even the most hardcore horror lover. We had a violent sabotage, a brawl with raiders, and even several nuclear bombs.
But there were a lot of funny moments as well. Usually from Lucy. Her overall goodwill and fearless gumption are absolutely hilarious, especially given the horrors she’s facing. It never ceases to amuse me.
Both of these aspects are done perfectly. The jokes land and the bloody scenes pull no punches. It was delightful.
All in all, this was an exciting start to a much-anticipated series. Here’s hoping they’re able to stick the landing.
For more tv shows based on video games, check out my review of Witcher.
(4 / 5)
