Korine puts new spin on trash flick

By Aaron Fenn

Trash HumpersStarring: Harmony Korine, PaulBooker, David
CloudRuntime: 78 mins.Final rating: 3 out of 4 stars

Before the screening of Harmony Korine’s latest film, “Trash
Humpers,” Korine introduced the movie by saying that he felt
uncomfortable even calling it a film.

He considers it more like a piece of “found footage” or a weird
home movie that someone could have found floating down a river in a
plastic bag.

The fact of the matter, however, is that “Trash Humpers” is a
film.

The movie features four unnamed characters (one of them played
by Korine himself) who go around Nashville smashing television
sets; riding bicycles while dragging baby dolls at the end of
ropes; vandalizing anything in their paths; singing songs,
drinking; and of course, performing the film’s title act against
unsuspecting trash cans.

Although “Trash Humpers” has no real “plot” to speak of, and the
scenes all come together through a surreal string of semi-random
occurrences and VCR-like visuals, the film still feels like a fully
realized work.

It almost feels strange reviewing a film such as this one.

Korine has made a film that stays entirely true to his own
artistic vision.

Whether audiences love or loathe “Trash Humpers” shouldn’t
matter.

The fact is that Korine made the movie he wanted to make. It is
purely a film as a work of art and self-expression. My metaphorical
hat is off to him.

“Trash Humpers” is a film that is honestly unlike anything
anyone has ever seen.

There are moments in the film that are strangely hilarious.

During one scene, a man recites his reasons as to why life would
be better “without a head” because people would save so much money
on shampoo.

Other moments are truly disconcerting, such as a scene involving
the unseen cameraman laughing gleefully, while filming a naked dead
body he stumbles across in a marsh.

The main characters performing the aforementioned acts on
garbage bins may lose some of its juvenile humor by about the 10th
occurrence.

Other moments contained within the film have a certain
indescribable, depraved beauty to them.

During the final scene, the “elderly” female character goes
walking down a dimly lit street singing a lullaby to a kidnapped
baby in a carriage.

In those final minutes, Korine creates something that’s equally
disturbing, creepy, beautiful, dismal, saddening and profound.

This is not a film I would outright recommend without thoroughly
knowing your own personal background in movies.

But if you do decide to make the drive to the Nuart Theater in
West Los Angeles to see it, you’re likely to ask yourself one
question: Is this art or just, well, trash?

I’ll let you decide for yourself, but personally, I think it
just might be a little bit of both.

Reach Aaron Fenn at: lifestyle@thepolypost.com

Korine puts new spin on trash flick

Press.TrashHumpers.com

Korine puts new spin on trash flick

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