Billy_Crash Reviews

The Babadook (2014)

There's Depth in Horror...

[8/10 · 13 May 2015]

If you live under a rock and haven't heard, THE BABADOOK (Australia, 2014) is supposed to be the greatest horror in the past ten years. Even THE EXORCIST's William Friedkin said it's "the most frightening movie I've ever seen." Coming from the director of what many consider to be the scariest movie of all time, that's saying something. Still, I was skeptical; though my intrigue was peaked just enough to order first time feature director Jennifer Kent's film.

If you didn't know, a successful crowdfunding campaign earned Kent a little over $34,000, which apparently went to the art department. Beforehand, the Australian acted in several projects, and directed two shorts and a television episode. I have not seen her previous work, but after watching THE BABADOOK, I know there are many features in her future.

THE BABADOOK stars Essie Davis (Amelia) as a struggling single mother with a rambunctious and creepy son, played by Noah Wiseman (Samuel). Davis is absolutely phenomenal, whether she's sheepish, scared, or on the psycho-mom warpath. Wiseman is equally fantastic as he goes from a socially inept persona to a kid on a mission. In fact, regardless of the role, every actor delivered. It's clear they all had the required skills, but Kent definitely got them to bring their collective best to every take.

To close out the trinity, cinematographer Radek Ladczuk brings a remarkable balance of light and dark, along with some interesting camera angles, to create a foreboding atmosphere that never wanes. Thanks to this big three of directing, acting, and photography, each scene is loaded with top-flight layers to keep us focused on the screen, and ready to march forward with each character and whatever situation awaits them.

Most of the action takes place in Amelia's home as she and her son face the uncanny in the guise of Babadook. Sure, the name sounds silly, but it's an anagram for "a bad book", and Babadook does not play. The most interesting element of the narrative is how the whacked out child and semi-stable mom change mental roles as the film progresses. Mom may not be able to handle the uncanny, but Samuel steps up as if he's waited his whole young life to prove himself – and this is his coming of age moment.

As we all know, movies work or don't work depending upon what we bring to the film. Sure, many scoff or outright dismiss THE BLAIR WITCH PROJECT and PARANORMAL ACTIVITY for several reasons, but both movies worked for me (especially PA) because they both played on my childhood fears and nightmares. THE BABADOOK may work on those who have young children. When they fear for Samuel, they actually fear what might happen to their child. And as parents, they probably fear holding onto themselves in the face of "the other", much as Amelia does. If so, one can understand all the over-hype and five star ratings. Yes, I felt a couple of little jolts, but nothing substantial, and I never really feared for the characters or my own sanity. After all, at this level, what would really happen to a child in a major independent film?

Although I have a couple of questions regarding the end of the tale, and although fear didn't sweep me away, the overall execution is enough to warrant 3.5 if not 4 stars. I lean towards the latter because of Kent, Davis, Wiseman, Ladczuk, and even Jed Kurzel's music, which tied in seamlessly with the story. Overall, THE BABADOOK is a great dramatic horror, but nothing to keep you awake at night.

More horror at www.crashpalaceproductions.com

Excision (2012)

The Disintegration of a Troubled Teenager

[9/10 · 13 May 2015]

First time writer/director Richard Bates Jr. must have impressed some quality people and their hefty wallets with his short, EXCISION back in 2008. Not only does he bring a full-blown production to the screen, but the cast includes the likes of Traci Lords, Roger Bart, AnnaLynne McCourt, Ariel Winter, "Twin Peaks" alum Ray Wise, and Malcolm McDowell, as a high school teacher, no less – and John Waters as a deadpan minister. Wow.

We've seen movies bottom out regardless of the phenomenal cast because story is king (or queen), and without a great tale to tell, the rest doesn't matter (add your James Cameron movie of choice here), because style only trumps substance in the minds of fools who hold special effects or cool characters over a vibrant yarn. With story as foundation, the actors that inhabit films through their characters can better enhance the narrative, and remarkable special effects will help sell the story as well. EXCISION has all of these elements in place, and then some.

If you love the "quirky" comedic horror, such as Canada's GINGER SNAPS (2000) and Lucky McKee's amazing MAY (2002), you should find Bates's tale more than satisfying. The story revolves around the enigmatic troubled teen, Pauline, brilliantly portrayed by McCourt, and her dysfunctional family: passive-aggressive and not-all- there dad (Bart), her younger cystic fibrosis plagued sister Grace (Winter), and the matriarch in control, a demanding mother who cherishes Grace among all things (Lords – who will amaze). With Pauline, we can make comparisons to her adult counterpart in May, where she doesn't fit in among the masses. However, where May wants to belong to the world at large, Pauline has other pursuits in mind. What they are can only come from indulging in the film where she has discussions with God while performing rebellious deeds with one thematic prize in mind. Theme is the crux of the tale, which is full of Pauline's horrific, bloodlust laden fantasies, and her penchant for setting everyone on edge whether at home or in school. Although one would think she'd despise her ill sister, there is a sort of camaraderie there, much like Ginger and Brigitte in GINGER SNAPS. Right from the beginning, however, with all its quirkiness and black comedy, we know all too well that something really awful is coming, and Bates does not disappoint thanks to a sub-layer of tension that permeates the movie. Even better, thanks to excellent writing with exemplary dialogue, we are delivered a full blown upper cut in thematic subtlety (yes, I know that's a contradiction), that seems to become lost on many viewers who simply despise the movie – see my point about those choosing style over substance.

The film does have style, and lots of it. Itay Gross relied on solid lighting to enhance every detail without creating a perfectly sterile environment, and kept us off-kilter with often straight on wide shots that deceptively mimicked a "wonderful world" of sunshine and warm colors. During dream sequences, he amped up the lighting to create a heavenly glow in contrast to the blood and carnage, which mirrored the conflict in Pauline's ravaged mind, leaving us in a beautiful domain with sumptuous people drenched in muck and gore. Yet, when Pauline talks to God, the camera shines down on her in the dark, revealing only her white face and folded hands as she peers upward, which is in direct opposition to her visions of fashionable blood and butchery. Once again, the disconnect in Pauline's mind is made clear through imagery. Gross's achievement further enhanced Armen Ra's production design, which again mislead us with seemingly generic venues both innocuous and comfortable, and as inviting as the gingerbread house in the old Hansel and Gretel story or a "Brady Bunch" episode. Then again, isn't this why Bates deceived us with the comedy element? In this regard, he's reminiscent of Tarantino who misdirects with fun and games until someone is brutally killed, as if he had coaxed us in with candy before bludgeoning us with a hammer.

It's not hard for one to see that Pauline has much in common with Carol (Catherine Deneuve) from Polanski's dramatic horror REPULSION (UK, 1965). Like May and Carol, Pauline is in crisis, though unlike the others, she knows it, and like the others, does her best to bend reality to her crazed will. All of these women, in order to right the perceived wrongs done to them, become the destructor to bring about change and inner growth they think will lead to solace, even at the highest of prices. Although we see May and Carol on their own, eighteen-year-old Pauline cannot escape the family unit. At least her mother, anyway, who lays down the law (or at least tries to) while Pauline fights back with wit and a bit of craziness.

Don't think this is some cliché-ridden tale with the typical family dynamics we've come to loathe from other movies, or the stock bullies one finds at Hollywood movie high schools. Bates constantly adds little touches to keep things askew, and delivers the best and worst of each character in subdued ways. Like Paul Solet's completely under-appreciated GRACE (2009), it's hard to find "evil" in a character when they are simply doing what they think is right – only to have some major realizations come calling by film's end.

Pauline's journey is an intriguing and disturbing venture sure to connect with many, while others may not grasp the nuances of Bates's artistry and guile. I certainly hope to see more of Bates and his work – much sooner than later.

More horror at www.crashpalaceproductions.com

The Cobblestone Corridor (2015)

Near Perfect Neo-Noir

[9/10 · 12 May 2015]

Director, writer, and star, Erik C. Bloomquist brings us The Cobblestone Corner, a Neo-Noir thriller with snappy dialogue, strong characters, and a solid premise that one could easily find on any college campus: the destruction of a professor's career thanks to questionable means. But we're not on a college campus. We're at the Alfred Pierce Preparatory School where posh kids live up to tradition by being stalwart and smarmy, as they flip imaginary bitcoins to decide if they should go to Princeton or Harvard.

Right from the beginning, however, we know something's different about this story. After all, we're with high school kids who are certainly in an adult situation, and handling the world as if they've had years of experience under their belts. Even the school's newspaper, run by the unyielding Allan Archer (Bloomquist), tackles the periodical as if it were The New York Times. You want to find out about the next school bake sale or whose birthday is coming up? Forget it. The Pierce Gazette is about hard news: baseball team steroid controversy, the all-girl fight club, and more.

Sure, I was on my high school paper, and as Feature Editor when I wrote a piece about a crack in the gym wall (almost twenty feet long, mind you), it was cut to avoid issues with the administration. But when Archer begins his narration about how he's "different", he's informing the audience that this whole tale is different. Think of Bloomquist as bridging the gap between Rian Johnson's Brick and David Lynch's Blue Velvet. We're definitely in an alternative and cooler universe for certain.

In The Cobblestone Corner, as in Brick, the teens talk like they're thirty, and their mature nature is frightening. It's as if they started mixing mommy's cocktails at age nine when they had their first cigars. Bloomquist takes it one step further by having the characters deliver banter from the forties. The great thing? It all works. Thanks to excellent characters, and a consistency in how they collectively carry themselves, suspension of belief about age and capability is not only acceptable, it's warranted as well as welcomed. Forget about tears and whining, these kids most likely handle stress with Xanax and single malt scotch.

Besides Archer, we have Logan Underwood (Alec Richards), the first year student with a lot to learn about writing hard-hitting news. Johnny Baker (Adam Weppler), the kid who could probably run a prison because he can get his hands on anything, shines as that guy in the know. Nicholas Tucci plays the patient yet stern teacher/adviser to Archer, and he works hard to make certain his Editor-in-Chief knows his place, even though Archer maintains a little smile along with every quip. And Elizabeth Merriweather (Madeleine Dauer), the femme fatale who knows she's gorgeous and could manipulate most anyone to do anything – but can she get Archer to do her bidding and investigate a respected instructor's sudden demise? Sure, there are others of Peirce's finest with goals and desires, and this creates a great soup of characters that keeps the story rolling at a high rate of speed and the dialogue razor sharp.

Cinematographer Mike Magilnik kept the camera moving, and he brings the viewer some great angles, even in talking head scenes that would normally sink larger productions. The great thing, especially with the Neo-Noir element, is that he didn't rely on dark scenes and long shadows. Yes, they were present on occasion, but just like Bloomquist's dialogue, we weren't hit with classic Noir tropes at every turn. Otherwise, with a little more money and a hairstylist, The Cobblestone Corner could easily have been a period piece.

As editor, Bloomquist knew when to keep scenes crisp and fast like Sam Peckinpaugh, and when to let them roll on a little longer to create atmosphere and intrigue. This helped maintain a steady beat that also matched the rhythm of the dialogue. Therefore, the last item to work in concert with the other elements is Gyom Amphoux's score – and like a diligent gumshoe on the case, he always hit the right notes at the right time.

So what happened to the professor who may have been forced out of a job? You'll have to wait and watch The Cobblestone Corner for yourself. Most important, any producer can see that this short would make for an excellent and offbeat television series (on cable without restrictions, please), or, with a few more additions, one awesome feature film. The only misgivings to be addressed: it was hard to tell if the lovely Madeleine Dauer was trying to play it sultry or coy near film's end, and it would be great to see Archer in some sort of danger. And as for those who might complain about little to no character arc for our journalist hero, well, that's Noir, baby. The reason Archer can take on the mystery is because of who he is. It's Archer's personality, his character, that leads us to story's end.

Now, why did I write about a film that isn't a horror? Because, if you recall from Bloomquist's THE LAST KNOCK interview from February 2014 (http://bit.ly/1EqMK9b), he has his mind set on his horror, Founder's Day. Like all filmmakers, he needs funding to make that happen, and it's hoped that The Cobblestone Corner will prove to be an excellent calling card – and it should definitely open doors as well as wallets. To find out more about The Cobblestone Corner, visit http://www.erikbloomquist.com/, and to learn more about Erik C. Bloomquist, check out his IMDb page: http://www.imdb.com/name/nm4620395/.

Crawl or Die (2014)

Panic Time

[8/10 · 31 July 2014]

A phobia-inducing nightmare

I was sold on CRAWL OR DIE nine months ago when I saw the trailer – the best one I'd seen in twenty years. Granted, a trailer is a promise that you are going to see something worthwhile and entertaining. As we know, all too often, filmmakers fail to deliver on that promise, but not Oklahoma Ward.

A military unit is on a single-minded mission: protect the package, and get it to safety. Sounds simple, right? But in CRAWL OR DIE, it's far from easy. Right from the beginning, we find ourselves running for our lives as the group does its best to stave off slaughter from an unseen attacker. To do so, they must go underground into the unknown, and that's the least of their worries.

What Oklahoma Ward does best is he keeps the audience right in the action with close- up and sometimes extreme close-up camera work. This creates one of the most intimate and oppressive sci-fi horrors. We not only feel the claustrophobia the characters endure, we experience this firsthand as if we're stuck with them. I have no problem with tight spaces, but while immersing myself in CRAWL OR DIE, I realized my breathing became labored. Twice, I gasped for air. I soon realized I needed a therapist on speed dial, with a chiropractor at the ready, as well as the promise of a hot shower to carry off the dirt and sweat.

The film stars Nicole Alonso as Tank, and what she endured while filming must have left her with dozens of bruises from crawling through one tight space into another one that was even tighter and dirtier. At times, with her gasping and near panic, I wondered if she was acting or feeling the constraint and near hopelessness of her character.

Most films suffer the second act doldrums, but this is truly where the film shines, because fear and trepidation rain down aplenty. It's easy to watch the characters struggle, to hear them gulp for air and sweat, but there's no doubt many in the audience will ask if they could handle such an experience.

CRAWL OR DIE could have easily been a shoot 'em up horror, but writer/director Oklahoma Ward chose to keep us nearly trapped in ultra-close quarters, evoking what any great horror film should do – fear and suspense. The camera angles, editing, and ambient sounds add to the thematic tone. We watch and become crushed under the weight of earth and metal, under the pressure from being trapped below ground, barely able to move while something hunts us with abandon. If that isn't enough, Tank and company (including the great filmmaker/actor David P. Baker as Sniper) must endure other hardships: lack of food, water, and medical supplies, and low ammunition, and absolutely no roadmap. They are underground, on their own, with only one option: CRAWL OR DIE.

Isolation hasn't worked this well since 2010's BURIED (Spain/USA/France), where we watch Ryan Reynolds wallow in a box for ninety minutes. But CRAWL OR DIE graces us with a feeling of hope, which ramps the tension and suspense because we don't want to see it fall apart. Sure, any of the characters could have taken themselves out due to fear, but what if there is light at the end of tunnel? Maybe this is why Tank pushed on even when she knew the odds were steadfast against her.

The music is minimal, and oftentimes non-existent, and its absence only adds to the oppressive feeling. The lighting is perfect, creating little pockets of possibility in the tight knit abyss.

Dive into CRAWL OR DIE just like the characters and go for the ride. An experience that will plague you long after the credits roll.

In the meantime as you wait for CRAWL OR DIE to arrive in the mail, get yourself ready with THE LAST KNOCK interview of director Oklahoma Ward and star Nicole Alonso right here: http://crashpalaceproductions.com

Definitely don't miss the most phobia-inducing horror since FINAL DESTINATION's (USA/Canada, 2000). But where that movie left you off the hook after the first act, CRAWL OR DIE will bury you.

Mission X (2009)

Profound

[7/10 · 7 August 2013]

A young filmmaker, Grant Timmins, finds himself documenting an upcoming mission by a band of veteran soldiers. Their leader is Ryan (David Paul Baker), who lets Grant film his almost every move.

Don't think this is just some mindless action-adventure. Filmmaker Baker delivers a strong tale of not only a mission, but a coming-of-age tale with Ryan as a sort of unlikely father figure.

This low budget feature incorporates great acting, cinematography, and editing. Better still, it's a fast movie with a lot of staying power - and some great dialogue.

If you love action films with substance, this one is for you. MISSION X will definitely make your night worthwhile.

Before Breakfast (I) (2010)

Paulie Rojas is One to Watch

[4/10 · 23 September 2012]

I saw this short at "Movies at the Mill" on September 22, 2012 in Easton, Pennsylvania. Though it had a nice feel, the story relied on a bit of silliness instead of something witty.

The acting was fine, but Rojas was a complete standout as Audrey Hepburn. She truly embraced the real life natural beauty, and completely captured her in mind and body. Her delivery was exceptional, and Levin's short, based on Keller's script (she also played the role of Grace Kelly), is worth watching simply for her fabulous performance.

I'm not sure why the element of the police officer was brought into play, and why costumer Betsey Potter seemed to have no concept of what kind of sidearm he would have during that time period.

Regardless, the story is "cute" when it could have been wonderful.

Head Trauma (2006)

One of the Greatest Low Budget Horrors - Ever

[9/10 · 25 March 2012]

Screenwriter and Director Lance Weiler's film (Brian Majeska shared writing duties) is an unexpected, quality driven dramatic horror that sinks deep and doesn't let go long after the end credits roll. Using "any means necessary," Weiler delivers a solid feature of milieu and atmosphere, psychology and imagery. Without a doubt, after watching over 1,250 horrors, and many of them low budget, this is one of the very best I've ever seen.

Though some say the movie is slow, they're missing the point. Horror is not just blood, guts and action; in fact, nailing down a definition may lead to a full-blown migraine. This is a character study of George Walker, the teen who left home and came back as a man to reclaim his grandmother's residence from demolition. However, from the opening credits, George quickly learns that one can't go home again.

Vince Mola is rock solid as the tormented and slightly off protagonist whose only apparent goal is to fix up his deceased grandmother's abode and sell it. On this adventure, which spans a mere set of days, George encounters old neighbors, both good (the Thompson family) and bad (Chester Jackson), and old romantic interests (Mary Sherman). Woven throughout are George's nightmares, which seem tie in to a Christian-based "Come to Jesus" booklet and that of a missing young woman.

Throughout the film, Weiler brings us perfect lighting, the excellent cinematography of Sam Levy, great characters, surprises and enough imagery (minus the heavy-handedness of Lars Von Trier) to paint an extraordinarily vivid picture of internal strife. From aerial shots, thanks to an ultra-light pilot who accepted a case of beer and gas money, to the wonderful visual effects of Scott Hale and Andy Williams, to the perfect score by Brian McTear and Amy Morrissey, this is one of the most well constructed narratives I've seen in some time.

As for story, though seemingly simple and oft heard, there is far more to it than that. The tale intrigues and even in the end, one can argue and discuss about several points. And no, this does not mean the story leaves the audience hanging, yet there is no perfect bow on the package either, just like real life. Whether intentional or not, Weiler and Majeska have created a story that walks the fine line between a boring and blatant American ending where everything is explained to the obscure endings of Europe that usually leave Americans scratching their heads. This well-crafted finish should satisfy the cinematic needs of both groups.

Also known for the gripping THE LAST BROADCAST, Weiler continues to create solid features. I only hope someone with deep pockets will sponsor his future full-length projects so we can enjoy more of his dramatic stories of absorbing atmosphere and character.

Cryptz (2002 Video)

Like VAMP - but without the bite

[1/10 · 18 March 2012]

Danny Draven's Book of the Dead, about independent horror filmmaking, is an excellent must-have reference. The DVD of his film CRYPTZ, however, isn't worthy of being used as a coaster for drinks.

Like VAMP (1986), a comedy/horror favorite for many, the story takes place in a vampire "sponsored" nightclub, which is simply a web to catch flies. And that's about all one needs to know. VAMP, however, with the ever wild Grace Jones, is full of laughs and jolts within the confines of a solid narrative, but CRYPTZ, thanks to its characters, just stands there. In fact, if you watch the movie, see how often characters stand around and do absolutely nothing from scene to scene. Quite often, we go from talking head spot to another. This alone made the production look like a dispassionate high school play after the funding had been stripped away. And to slow things down a whole lot more, slow motion camera work plagues this feature on a grand scale – and the mind-numbingly weak motion brings what little story there is to a screeching halt.

Choice Skinner, as protagonist Tymez Skwair, never came off as a young man. However, Rick Irvin (Fuzzy Down) and Denis Waller (Likrish) did have their moments, though their over- the-top comedy business at the club was way, way too much. I only wish Fylicia Renee King (Skwair's mom) had much more screen time.

One of the worst moments: Tymez Skwair gets his tattooed carved out of his chest, but the flaying takes place on his left breast, though the wound appears on his right breast throughout the picture. Yikes.

Something this bad might be a fun romp for laughs, but with the characters being extremely inactive, CRYPTZ sits like a pile of rotting meat.

The half-star goes to Ms. King.

Needle (2010)

From Cool to Ho-hum in Record Time

[4/10 · 18 March 2012]

Part of what makes us indulge in horror movies is to see death presented to us in a different manner, through a story that compels us. NEEDLE had a wonderful premise with a wonderful little mystery that screenwriters Anthony Egan and John V. Soto (who also directed) could not bring to light.

And that really bothers the heck out of me.

If the pair had really invested in a riveting narrative, this could have comprised the mystery element of the United States based version of THE RING with Clive Barkers HELLRAISER for one potent and unforgettable horror. Instead, after coming up with a wild idea, Egan and Soto clearly didn't know what to do with it. Instead, it became hack-and-slice cinema that offered little stimulation to the senses. By movie's end, the tale had become so old and lame, the climax was abysmal and unsatisfactory. In fact, it cheats the audience and sets up a sequel, though I doubt they'll ever have the chance – unless an intelligent producer with deep pockets comes along and shows them how to do it the right way.

At first, when the lame commercial-hard rock commenced as Ben (Michael Dorman) ran across a college campus, I thought this was going to be typical teen fair. Then the premise was revealed and intrigue set in – only to collapse into typical teen fair. Worst still, Travis Fimmel, who played Ben's older brother, came off as being creepy in one scene, and a determined guy out to solve the mystery in another. Now, this did not leave the audience with an enigmatic character (such as Stellan Skarsgård in INSOMNIA or Ji-tae Yu in NATURAL CITY) but a confusing one. However, seeing how the story imploded into mediocrity, I have little doubt the director had told me to act in this manner. Think of George Lucas directing kids (unless they're stuffed into ewok costumes) and you'll get the idea.

Revenge horrors have become a "give me a break" kind of subgenre, that is a simple and clichéd plot device for writers and directors to use as an excuse to slaughter. NEEDLE reminds us filmmakers need to deliver so much more. And this movie is only worth watching to see how a couple of writers came up with a great idea and didn't know how to make it work.

The Last Circus (2010)

Laugh Clown Kill

[7/10 · 5 February 2012]

Laugh clown kill

A sad clown falls in love with a starlet – and challenges her misogynistic lover in post-war Spain.

The logline above is far too simplistic for this multi-genre and multi-thematic film. Written and directed by Álex de la Iglesia, best known in the US for his 2008 feature THE OXFORD MURDERS, brings us a monster mix of mayhem that spans from the Spanish Civil War to 1973. Sort of like Tim Burton on a lot more acid.

Soft-spoken Javier (Carlos Areces) survives the war to become a sad clown in a low budget circus. In the show, he plays second banana to Sergio (Antonio de la Torre), the happy clown who is ultra-hostile off stage and keeps the other performers walking on edge due to sudden tirades and extreme violence. His lover is the lithe Natalia (Carolina Bang) torn between Sergio's rage and the safety of Javier. Okay, that sounds like straightforward romance plot number one – but it doesn't come close. This tale engages war, politics, drama, comedy, horror and romance while exploring themes regarding obsession, response to trauma, politically induced Frankensteinian creations, and the failure of dreams within a fascist state. Fascism, whether it is Franco's or Sergio's, is the running thread that holds this wild fantasy together.

Kiko de la Rica is the photographic genius that created one amazingly vivid cinematographic ride that even in the daylight never seems pristine or dreamy enough. The world is always tainted – darkened – by something from the edges as well as within the hearts of the characters, and his skill brings this to light frame after frame.

The acting is absolutely brilliant and riveting, with Areces and de la Torre going toe to toe at every turn. I can only imagine how mind-numbingly drained the performances had left them. Then again, how could any actor in the film not embrace the quirky and enigmatic characters created by Iglesias? None of the characters were run of the mill or plucked off the shelf like so much Hollywood drek.

However, though this falls under the realm of horror, I sincerely doubt many fans of the genre would embrace the movie. This is not because horror aficionados are stupid and only adore slasher films, but this is one of those movies that could easily make someone question the very definition of the genre. And with a multi-faceted feature such as this, horror plays a role, like a character, and does not permeate the tale.

Regardless, there's something for everyone in THE LAST CIRCUS, and if you like freaky films that defy description, you should enjoy this riveting feature.

The Woman (I) (2011)

Ultra-disturbing Character Study - Not to be Missed

[8/10 · 2 February 2012]

Ultra-disturbing Character Study

A man brings a feral woman into his house…

Lucky McKee's THE WOMAN, is clearly his best feature since MAY. Again, with the phenomenal Angela Bettis in the mix, this twisted take on family, suppression and feminism is amazing in its tension and suspense.

This venture into an alpha-male that brings a feral woman into his root cellar is clearly one of the most disturbing films ever made. And that's not a bad thing by any means. If this foray into the abyss does not bring about a visceral emotion from within, you may not be breathing.

Using music to help shape the tone, McKee delivers on all fronts. The best element, however, is that part of the horror takes place during the day, giving us 24-hour coverage of pressure filled hell. Loaded with excellent lighting to maintain an often juxtaposed mood between what the real world should be like and what it actually is in the Cleek home, is exceptional.

Besides a strong story that delves into the psychology of relationships, child rearing, the suppression of women in a male dominated society, McKee delivers these topics in a subtle fashion. For instance, the captive woman (Pollyhanna McIntosh) isn't just put in a root cellar. This place of imprisonment is significant because the woman is virtually kept underground – secluded from the world, just as the Cleek family is sequestered. However, the important feature is that Chris Cleek (Sean Bridgers) has plucked this animal woman from the wild environment about their home, only to shove her back into the wild environs of the soil to control her. It's his way of saying he can manhandle and dominate nature inside and outside the home – as well as below. There wasn't one weak actor in the feature, and the performances were rock solid. Bridgers was absolutely fantastic and should easily rise to the top ten of anyone's "worse villains in horror" list.

And though many say it's trash and exploitive, they're not allowing themselves to think about the many layers and nuances to the film, as well as the eclectic personalities that inhabit it.

There is much to explore in this feature and it's a definite "must see".

Paranormal Activity 3 (2011)

Greater than 2 less than 1 – and that ain't remotely bad

[8/10 · 2 February 2012]

The first installment of Oren Peli's ultra-low budget dramatic horror blew me away. Number two was mid-range and mostly forgettable, but in the third installment, directors Henry Joost and Ariel Schulman delivered in grand comeback fashion.

PA3 focuses on Katie and Kristi Rey's first brush with the entity that incessantly haunts Katie (Katie Featherston – who will also appear in PA4 later this year). Once again, strange sounds and bizarre occurrences lead to a stream of jolts that keeps the tension at a high level – with some excellent special visual effects that are cool, crafty and comprised of the "boo" factor. Usually, I can't stand horror movies with little kids because we know nothing really bad is ever going to happen to the little bastards. But Chloe Csengery (Young Katie) and Jessica Tyler Brown (Young Kristi Rey) did a fine job. The rest of the cast was solid and helped sell the creep factor all the way through.

Sure, some people trashed this movie, and for good reason. The third installment of anything, unless it's THE LORD OF THE RINGS or, on a lesser scale, RETURN OF THE JEDI, there aren't many showstoppers when a studio is milking a franchise to death. But this captured the surprise of the first movie quite well. After all, unlike most horrors that are clearly in the realm of fantasy so we can distance ourselves, the PARANORMAL ACTIVITY juggernaut does its damnedest to present everything as genuine – and hand-held cameras and their gritty feel certainly add to making that work. And this air of reality may leave many wondering, "What if this could happen to me?" Hence, the troubled nights sleep.

For me, this franchise resonates because it's exploiting my own childhood fears. And since I'm bringing my past experiences to the screen, I feel every friggin jolt.

As far as averages go, for my money, this is the best horror series – ever. Yes, I know I'll get a lot of flack for that, but these movies rock my emotional world. Believe me, I'd love to say the HELLRAISER series, but like most franchises, subsequent features become either flat or just bad parodies of the original. For now, PARANORMAL ACTIVITY is keeping it real, fervent and surprising, and let's hope it continues when the latest foray comes to theatres on October 19.

SPOILER ALERT: Granted, this third feature leaves us with questions, which will undoubtedly be answered in the fourth venture: Why didn't the house burn down as Katie said in the first movie? Yes, she could have been lying, but who knows what's to come and if the crazy coven wiped her mind free with a spell or something. And what happened to the girls' mother? We'll have to see where Peli, Joost and Schulman take us next.

Blood Curse (2006)

We've Seen it All Before

[3/10 · 31 January 2012]

A man brings his wife and kids to their ancestral home in a superstitious village…

As soon as the movie began, it was clear writer Rodrigo Guedes de Carvalho was going to exploit all the trappings of his culture. Roman Catholicism, possession, exorcism, village mentality versus city dweller mode of thinking, spiritualism, ghosts, family and superstition versus reality all come into play. The only problem is that we've seen these stories unfold in horrors repeatedly from a slew of other Western, as well as Asian, nations.

He does one thing, however, that is wonderful. The stereotypical villages that tell the city folk they don't belong – or hate them outright – isn't necessarily prevalent. Thankfully, with that hackneyed element not in the picture, I was able to indulge.

The acting was fairly strong, especially by Adriano Luz and Sara Carinhas, though Manuela Couto succumbed to be being far too melodramatic. The story maintained a solid pace with exceptional cinematography by Victor Estevão, capturing the atmosphere of the Monteiro homestead as beautifully as he did the lush countryside. Sadly, suspense and scares were sorely lacking and the end came as no shock.

Tag team directors Tiago Guedes and Frederico Serra have definite talent, and I hope they pick a stronger tale for their next outing.

First Born (2007)

If You have Trouble Sleeping, Hit "Play"

[1/10 · 31 January 2012]

A first time mother gets delusional over baby.

This feature had the feel of a MOW (movie of the week). Though I doubt Lifetime would run it up the flagpole. Sure, it had atmosphere at times and decent lighting, but twenty minutes could have easily been hacked off the ninety-five minute run time.

As for the movie, this is writer/director Issac Webb's first feature. Yet, how this slow moving beast of confusion and nothingness got greenlit and made it to the screen is its own mystery. Now, I don't need everything tied up neatly in a bow, after all, I'm a big David Lynch fan, but give me some gateway to possible answers for some of the odd occurrences. Please.

Worst still were the characters: Although Elizabeth Shue did her best as whiny mother, Laura, she was simply annoying. In short order, any semblance of compassion by the audience for this pouty trainwreck of a woman was clearly destroyed by the beginning of act two. The workaholic husband, doing his damnedest to impress his bosses – how droll – also sported his own poutiness in the face of actor Steven Mackinosh (though he somehow manages to secure an entire month off when his wife truly, truly needs help with baby Jessica for real this time). And of course, we had the creepy old babysitter, who… whatever. It's as if Webb plucked his characters off the shelf at your local and utterly decrepit K-Mart.

Since there was little happening, especially with a group full of solemn and cardboard characters, the climax was extremely clear from the beginning and leaves the audience without any shock and awe – just a yawn. And a big one at that. In fact, suspense was annihilated early on when it became blatantly obvious this was one of those "Is it in her mind?" movies.

Regardless, Webb and the rest did not bring anything new or palpable to the genre with this drek. Give a half-star to the Camera and Electrical Department for making this drek look good on some level.

Final Destination 5 (2011)

The Best in the Series?

[8/10 · 24 January 2012]

People avoid a major disaster – but they can't cheat death for long…

Though originally a 3D venture, which is obvious thanks to that annoying "in your face" camera angle, and sometimes shoddy looking special effects, this the first of the movies to hold my interest throughout.

Granted, it's over-the-top and corny to a degree, but the characters are a bit stronger as well as the suspense. Director Steven Quale did a solid job in making certain tension was maintained throughout, and for not allowing the audience to catch their breath.

Definitely not as silly as the other installments, this one definitely had its surprises. Although I wasn't jolted by the scares, I was entertained and couldn't take my eyes off the screen. However, the scariest part may be how much actor Miles Fisher resembles a young Tom Cruise.

The original FINAL DESTINATION (2001) had one of the strongest and most un-nerving first acts I've seen in a horror, but the final two acts were ludicrous and destroyed any true sense of fear and trauma. This latest installment is what it is from the very beginning and continues on a wild ride of gore and horror, thanks to the steady writing hand of Eric Heisserer.

For a great horror romp, this makes for a solid rental that should leave you cringing.

Malefique (2002)

Magnifigues!

[8/10 · 21 January 2012]

Four men want to bust out of jail – with the help of a little black magic.

French horrors have been quite riveting the fast five or so years. Although this movie may not fit in with the disturbing MARTYRS and INSIDE, this fantasy delivers a quality story with a wonderful group of eclectic characters.

Alexandre Charlot and Franck Magnier bring together a tight script with idiosyncratic characters to keep the audience on their toes. Stylishly directed by Eric Valett, with exceptional cinematography by Jean-Marc Bouzou (who makes us all feel like we're the fifth prisoner), we are taken on an intriguing ride. And it's such a great trip we forget that the movie is four talking heads in a French jail cell.

This fast-paced mystery is sure to attract more fans around the globe with its ensnaring tone, excellent dialogue and stellar cast.

The Hunters (2011)

A Convoluted and Nonsensical Disaster

[1/10 · 20 January 2012]

This tale is so convoluted and nonsensical I can't imagine how this ever got green lit for production. Poorly written by Michael Lehman, with some questionable acting (especially from Terence Knox and Philip Correia), one can only wonder why Chris Briant, who directed and starred, didn't demand a better narrative. Either performing both duties overwhelmed Briant, or his ego exploded. Either way, knowing this was his first film for both acting and directing, the clunky storytelling may make some sense. Worst still, though one may think the editing was poor, I'm sure editor Nafi Dicko cried over this mess of story and did his best with the pitiful material he received. The ½ star, however, goes to cinematographer John B. Aronson who has given us one of the best looking worst movies ever seen, and to Steven Waddington and Tony Becker for bringing us grounded characters even in a pathetic lost cause. Sadly, what could have been a tremendous character study for both their on-screen personas, which would have provided a truly disturbing and sobering tale, was completely lost.

Why Lehman introduced a third rate police angle into the mix, and a horrendously trite and overly clichéd reveal, is beyond comprehension.

I rarely say this, but because THE HUNTERS is so poorly crafted, I recommend avoiding this mess at all costs – so you won't fall prey to giving the producers one thin dime (or euro in this case).

Branches (2010)

Endearing without the Sap

[8/10 · 19 January 2012]

Rick Hansberry has written a beautiful tale not to be missed. The excellent direction of Chris Messineo truly brought this dramatic story to life in vibrant ways. To make the story truly shine, the actors chosen were not only perfectly suited for their roles, but their performances were solid, natural and spot-on.

Daniel Stern's narration was fabulous and matched the tone of the movie extremely well. Right from the beginning, we're hooked by his even yet rhythmic intonations that are inviting as well as captivating.

Furthermore, Michael Whalen's exceptional score will stay with you long after the credits roll. Absolutely breathtaking music!

Most importantly, the story, though timeless, is fresh and invigorating to anyone, anywhere.

Although some may think short films are throwaways and not worth spending time on, to miss BRANCHES would be a grand mistake. Sit back, enjoy - and I have no doubt you'll watch it repeatedly, and tell your friends and family to do the same.

Requiem (2006)

Brilliant Debut for Sandra Hüller

[8/10 · 18 January 2012]

This film is based upon the story of Anneliese Michel who died of starvation while undergoing an exorcism. (The USA film THE EXORCISM OF EMILY ROSE is based on the same German case, but is much weaker in its impact.)

Many may argue that this film is strictly a drama and bears little, if any, resemblance to horror by definition. True. But it seems that the label of "horror" was instantly tacked on when the words "possession" and "exorcism" were mentioned.

Regardless of that argument, Sandra Hüller's on screen debut was simply stunning as the ill- fated young co-ed. In fact, there is little to find at fault in this film of fine acting, direction, cinematography and story. The main problem, beyond the horror question, is that the ending comes to quickly. Just as we're getting into the major conflict of the story, self-preservation at all costs, the movie comes to an abrupt end with an epilogue. Even so, the film is captivating enough to garner an easy four stars.

Altitude (2010)

Lost in the Clouds

[4/10 · 18 January 2012]

A young pilot flies a twin-engine plane into the dark clouds with four friends and mayhem ensues.

Although ridiculous due to outrageous inaccuracies regarding planes, cold and oxygen, the movie did have some decent cinematography. And although some of the dialogue was atrocious, the "Twilight Zone" feel of the story was fairly decent.

As someone who is deathly afraid of flying (may kryptonite – besides mathematics), the movie played on those fears, though I had to laugh at some of the flying related abominations. Yes, since it's my fear, I try to know as much about flying as possible.

The good news is that this is a fast ninety minutes with some decent tension. If writer Paul Birkett had paid more attention to the realities of flight, this would have been a far stronger film and a better horror.

Tucker and Dale vs Evil (2010)

Masterpiece of Horror Comedy

[8/10 · 16 January 2012]

Eli Craig did a masterful job in presenting the best horror comedy since "Suck."

Playing on the tried and true "Flinstones Plot" of miscommunication that may drive some viewers crazy, Craig brings the gore and the humor with great special effects and wonderful acting. Best of all, of course, the story is solid with an interesting and poignant antagonist development that is extremely impressive.

Better still, the laughs aren't cheap and silly.

And if you live in the southern United States and hate how "southern folk", "backwoods families" and "hillbillies" are exploited for horror purposes, you'll love this tremendous twist on such a overused and ill-conceived cliché.

This is one of the greatest horror comedies ever presented on film.

Spirit Hunter: La Llorona (2004 Video)

Embarrassing

[1/10 · 10 April 2011]

If I could give a negative number as a vote instead of "one," I would definitely do it.

"Haunted from Within" has problems on all fronts: The story is extremely weak. Detective Lupino actually tells the doctor that he'll be back in a minute. There is a slight fade out as Lupino exits, then a fade in as he returns - and that need for the character to leave is never addressed and serves absolutely no purpose. Furthermore, the movie is loaded with "talking heads" and too many people on phones, which is absolutely ridiculous. The directing is god awful, the acting is atrocious, the editing is third rate, the music is abysmal, the cinematography is shameful and the lighting is horrendous.

I have only seen one low budget movie worse than this ("Gone the Way of Flesh"). Writer/Director/Producer Cruz should be embarrassed.

I wouldn't even use the DVD as a coaster for drinks.

Recorded Live (1982)

The Music is Worth it

[5/10 · 10 March 2011]

I saw this Canadian, black-and-white music fest on "Night Flight" back in the late eighties.

I remember loving this movie simply because of the music, especially Mama Quia II - whoever and wherever they are.

"Night Flight" ran this movie on a couple of occasions, but it has never been released on VHS or DVD - and one can only imagine where this movie may be. Most likely, it can be found in three directors closets as well as Natalia Kuzmyn's. This was her only film.

The movie was shot in Toronto on a very low budget.

Regardless of the loose story line, something to do with pirate radio/music, the movie showcased musical talent.

If this movie exists somewhere, it's certainly worth seeing for the alternate music. But like many alternative music/films/shows from the late seventies and eighties, some are just lost to time.

The Walking Dead (2010–2022)

A Disappointing Melodramatic Soap Opera

[3/10 · 4 December 2010]

This show is so weighed down with "talking heads" melodrama it should be on the Lifetime Network. I'm all for intelligent, dramatic horror, but this is watered down like a soap opera.

I'll skip the remaining seasons. And that's too bad. This really could have been something special.

At one point it was rumored Darabont had fired his writing staff. I was happy at first, till Hurd announced that it wasn't true.

This series should be compelling, profound and serve as an exemplary social commentary. Instead, it becomes bogged down in its own rhetoric and leaves little to discuss.

The acting is quite strong and the special make-up effects make most feature films look third rate (hence the five rating instead of one), but that isn't enough to carry the sappiness and long-winded talking that permeates the tale.

What a shame.

The Haunting (1963)

Excellent Dramatic Horror

[9/10 · 3 August 2010]

I first saw "The Haunting" last year and was happily amazed. This chilling and intriguing ghost story features four characters in a house to prove the existence of the paranormal – or the uncanny. Directed by Robert Wise and based on Shirley Jackson's novel, "The Haunting of Hill House", we are taken on a special ride through a 1963 feature with special effects, and an element of creepiness, that still holds up.

In the tale, Dr. Markway (Richard Johnson) investigates Hill House because it has a history of bearing witness to violent death, rage and insanity. Accompanying the good doctor in his quest to prove the house is actually haunted are Luke (Russ Tamblyn), who has inherited the place, wry psychic Theodora (Claire Bloom) and insecure Nell (Julie Harris). Nell is Markway's ace, not so much because of her ESP capabilities, but because the uncanny has shown itself to her since she was a child. All four characters have to face the uncanny, whether collectively or individually, but must survive the isolation and hidden terrors of Hill House in order to tell the tale.

The four actors did a wonderful job in bringing the tale to life, especially since there are many layers to the story. While Dr. Markway is trying to prove his point, his male counterpart, Luke is a skeptic. Theodora likes woman and is drawn to Nell, who wants little to do with her – after all, the mother she cared for just past away. Nevertheless, the spirits do come alive and are seemingly attracted to Nell thanks to her guilt-ridden energy and dark secret.

This dramatic horror works because most often audio effects are used in lieu of the visual to get scares out of the audience. The special visual effects that are used, however, especially the expanding door, are well crafted. This is one of the reasons "Paranormal Activity" (2009) worked so well. Like "The Haunting", the horror was often suggested via audio cues and nothing more. (Many people I know who despised "Paranormal" said so because "nothing happened" in the movie. I can only imagine what they would say about "The Haunting" and other dramatic horrors.)

Though the house is large, claustrophobia abounds thanks in part to the lack of an open floor plan. Each room has a door, which is significant. Opening a closed door and walking through it is akin to entering that mysterious grotto, where no one knows what is inside until one takes that first step. Furthermore, there are few things more enticing for an audience than a closed door they know a character must open. The suspense, as the character approaches the door and turns the knob, does well to keep an audience on edge. This is why the bulging door scene is so important. Audiences were most likely waiting for something to come through the door and never expected it to take on a life of its own.

"The Haunted" is one of my favorites because of its atmosphere, use of light, shadow and sound, and its strong narrative. Moreover, the end scene with the car, the dark woods and the damsel in distress is very eerie.