Down The Rabbit Hole

The Ancients Will Swallow Your Soul

2012-02-08T02:54:00.002-06:00

The 1970s actually had some rather bizarre movies made during that era, especially horror movies. One of the most outrageous of those low budget films is Equinox, which is remarkable in that it was clearly made by people on acid. Or at the very least people who set out to make a rather unique and crazy movie, one that is not so much a horror movie as it is a journey into madness. For man was not meant to venture into the unknown, peaking into another world.

Something like that, anyways, especially considering what happens throughout the movie. The only really standard aspect of Equinox is that its part of the famous sub genre of horror films known as "People go into the woods, and bad things happen." More of the strange things occur at first slowly, and then rather frequently very rapidly. Clearly this was an incredibly low budget film, especially considering the special effects, which are as weird as the movie is. The use of clay animation is a nice touch, particularly as this only increases the film's level of oddness.

Despite what Sam Rami says, Equinox seems to have been something of a loss inspiration for The Evil Dead series. The frantic camera use, and the movie's plot of young adults stumbling across ancient evil is certainly at this point rather standard for the genre, yet at the time of this movie's release it was still rather fresh, overall. And of course I rather dug the ending, which only adds to the movie's mythology-I can see why this film was selected for a Criterion release. 85?

The Man In the Red, White, and Blue

2012-02-06T03:28:00.002-06:00

2011 was the year of the superhero movies, although 2012 has plenty more in store. Even though Captain America isn't one of the year's best movies, it is one of the best superhero movies of the year. Chris Evans proves to be a fantastic choice to play Captain America, going from a nobody to someone who ends up saving the day, although he naturally gets in over his head. Joe Johnston acknowledges that this is a origin story, and clearly had fun directing it, making it not only an entertaining action/adventure film but also one that pays great homage to the 1940s.

Really the look and feel of the movie reminds one of old school 1940s adventure serials, or at least movies such as the Raiders of the Lost Ark that embodied the clever spirit of those shows that played in the old days, when things seemed a bit more simple and good guys and bad guys were very obvious. Red Skull, the villain of this movie, is a great counterbalance to the Captain, and he's played with cold hearted cruelty by famed character actor Hugo Weaving, who gives him just the right amount of sneer. Having Hayley Atwell play the gorgeous Peggy Carter was also an inspired and right choice, as was featuring Tommy Lee Jones as Colonel Phillips and other famous actors such as Stanley Tucci and Toby Jones. Basically giving this movie a fantastic cast enables one to overlook some of its clear flaws, as well.

Since he also directed The Rocketeer, another enjoyable action/adventure movie set in the 1940s, Johnston was a good choice. Its kind of a shame that the next Captain America adventure will be The Avengers in terms of sticking him merely in the 21st century when watching him, say, fight commies or battle the forces of neo-fascism in America would be really cool to see. Still its interestingly enough this movie that makes me excited for The Avengers, if only to see how the Captain handles a new age, and in addition to actually having more help than he's normally used to for once. 80

The Life of a Man In Three Acts

2012-02-06T03:07:00.003-06:00

Even though this is a rather standard biopic film, Clint Eastwood tackles his subject material in terms of presenting an unbiased, objective and largely strictly observant means of detailing the life and times of one J. Edgar Hoover, a man who ran the FBI with an iron fist for decades. This film's strongest asset lies in its great cast, especially with the two leads: Leonard DiCaprio
and Armie Hammer, both which play off of each other pretty well, which is good considering that Hammer plays J. Edgar's lifelong lover and confident.

Compared to other Clint Eastwood movies, this one does have his usual color schemes and cinematography. Its merely solid at best overall, since most of the movie goes through J. Edgar's life in flashback mode. DiCaperio gives a really honest, stark performance which elevates the at times flat material, and one of the scenes with him and Hammer fighting is powerful since its clear that two lovers are going at it. Really the problem here is that Eastwood has made much better movies, plus the film really does not go more deeper into Hoover, a problem which happens in too many biopics anyways. Still, Eastwood's good as usual directing, too, makes this film more engaging than it really had any business being.

Well that and the fact that really we did not need an entire movie to tell most of us what we already know: that Hoover, the keeper of so many secrets, was an overbearing manipulative control freak. Possibly even a racist, to boot, and that its ironic how near the end of his life that he was unable to really maintain control over most of his life, and so many things that lay outside the gross amount of governmental power he obtained during his lengthy FBI career. 80

Mutants in Training

2012-02-01T21:26:00.004-06:00

Most superhero movies follow pretty obvious cliches, however in the case of X-Men: First Class (2011) director Matthew Vaughn follows a slightly different path in regards to making an origins story film. Even though First Class has some fairly obvious moments, and can be considered rather standard at times, the film's top notch cast and Vaughn's rather daft handling of the material makes this the best superhero of the year. Considering that the last two X-Men films are considered among the worst of the series, this film represents a return to form for the franchise, and marks a new start. After all, these days the trend is to just go with a reboot, since its much easier to begin anew rather than try to fix any current existing problems that have been caused by the previous other movies.

Just like the first X-Men (2000), this film opens with a look at Magneto's beginning as a young boy. In this case, however, we get a glimpse of his true powers, and becomes a sort of Frankenstein's monster. The Dr. Frankenstein in this case being Sebastian Shaw, who starts out as a Nazi and then moves on from there, and who is responsible for Magento, who starts out as Erik Lehnsherr, becoming who he truly is, and embracing his mutant powers. Eventually he runs into Charles Xavier, who believes that mutants should be protecting humanity from not only itself, but also from those mutants who seek to harm people and even fellow mutants. What follows is rather standard "Mutant Training" moments, although Vaughn in some respects uses these scenes though to build up the characters, which makes the big final "World is in Serious Dangerous Peril" finale have much higher stakes overall.

Even though the ending is all too painfully easy to figure out (even non comic book fans such as myself are aware of the series' mythology), this movie is really entertaining. Despite the film not being a huge box office success, there are reports of a sequel forthcoming, which sounds great, so long as it continues to follow the established successful formula and has a competent director such as Vaughn in control. Plus of course bringing back the movie's core cast, as well. 90

Rover, Wanderer, Nomad, Vagabond

2012-01-22T05:32:00.003-06:00

Created by a director who literally fit the definition of "Maverick," the 1966 Japanese crime drama/thriller Tokyo Drifter is a rather unique film, one that is a bit tricky to discuss. Compared to even other foreign movies released during this period, this cult classic is a bit beyond definition, and when mentioned against Hollywood releases its downright from another planet entirely. Even though the 1960s and 1970s were the true Golden Era of the suspense picture, Seijun Suzuki cleverly set out to make something truly off the beaten path, a movie that is not quite expected. In this case, unexpected is truly a great thing, something to be admired and marveled at.

Really at the heart of it all the plot is quite simple: a former yakuza member has been trying to go straight, and his former gangsters refuse to let him achieve peace of any kind, demanding that he rejoin them. As a gang land war breaks out, and the situation becomes even worse, this young man somehow keeps his head, determined to become a wandering nomad without connections, someone who is fine with moving from place to place. Hence, the title, which is fairly obvious as well. Yet, the film's overall structure and how events unfold.

Mainly that certain odd or strange things happen, and at times I will admit the movie was a bit hard to follow. Suzuki does not spell out what is occurring onscreen, secure in his belief that even the average moviegoer would be able to figure out what was exactly going on. Perhaps multiple viewings are required for this movie, yet regardless that doesn't matter because the film's quality and style are very noticeable. Utilizing colors, film economy, a rather funky and excellent score, and fine performances, this is a movie with some actual subsistence to back up the rather glossy surface. Not to mention the film's lead, who projects a surprising amount of cool indifference considering that multiple people are trying to kill him throughout the movie.

Also featuring a wonderfully rowdy and lengthy bar fight scene, and a rather tense, violent climax, Tokyo Drifter is a perfectly paced, at times rather poetic and meaningful, crime film. Despite his continuing and endless attempts to buck the rigid Japanese studio system which lead to him being somewhat limited at times, its clear that Suzuki was still able to create works that are truly worth checking out. He has a tremendous sense of auteur style while also managing to rival his American and European contemporaries, a fact that people should remember. 95

Trains, Cars, and Dead People

2012-01-20T21:14:00.005-06:00

When one views this movie, some of Alfred Hitchcock's thrillers come to mind, which is interesting considering that Silver Streak rather daftly combines suspense with comedy. Hitchcock was able to do that too, especially with one of his greatest movies, North By Northwest, a movie that in some ways inspired this movie. After all, Gene Wilder's rather confused and in over his head protagonist requires some of Carry Grant's best work, in that the common every man discovers himself wrapped up in a rather sinister plot. In this instance, its Wilder quickly discovering that he is not only suspected of murder, but that he is trapped on a train with the killers.

Also featured in this movie is Richard Pryor, another great comedian who ends up having excellent timing with Wilder. Even though they actually do not meet until later in the film, the rapport they have together is great, and it results in some of the film's most humorous moments. Particularly the funniest part, where Wilder is forced to pretend to be like Pryor; its a scene that could have been racist, but is instead mocking a white man for even trying to be something he is clearly not. The appearance of an actual African American leads the viewer to think that Wilder is in trouble, but instead the man says "You've got to keep time," as if he chooses instead to mock Wilder.

Really much like many of Hitchcock's movies the plot itself is a Macguffin, created to move the film along and not being of true particular importance. Especially silly is the villain's reason for everything he does, but that has no ill bearing on the movie, which is rather entertaining and a purely fun romp. Whether or not the other movies Pryor and Wilder made together are as good as this one remain to be seen by me, Silver Streak clearly has to be one of their best efforts. 85

Second Chances Don't Come Along Too Often

2012-01-17T03:40:00.004-06:00

Fashioned as sort of a rather bizarre yet somewhat normal odyssey of a movie, Down By Law is rather unique in that it manages to seemingly combine comedy with drama. Most of the movie's rather humorous and delightful moments stem from the fact that this trio of main characters are not just out of luck, they in desperate need of help from a divine power. Each of the three hapless imprisoned cast brings their own style, and they are notable from one another in many different ways.

Jim Jarmusch is widely known for creating different types of independent movies, each of them not similar to the others. Here, he gives us a crime drama with humor, properly utilizing the rather talented musician Tom Waits, John Lurie (who appeared in other films of his) and the rather clownish Roberto Benigni, who strangely is this movie's true heart and soul. Trapped first in a jail then forced to go on the run, these men for some reason or another experience rather outrageous hardship and then finally get a tiny slice of luck that somehow just happens to fall their way.

There is a tender friendship that slowly builds amongst these men, so much that even when Lurie's Jack and Waits' Zack have the opportunity to leave Roberto behind, they end up choosing not to. Of course one has to speculate that they acknowledged the wheel of karma in going with such a plan of action, yet I highly doubt any of them gave a damn about karma. It was simply not a bad idea at the time, and they were close anyways.

Even though the picture drags near the end, Down By Law is a rather delightful film, Jarmusch's exercise in humanity. None of these men are bad people, and the choices they end up making are only interesting in that they are unsurprisingly straightforward and simple. Life does have a rather odd way of, after dealing you rather terrible cards, deciding to change its mind and not only have a new dealer operate with a new deck, but take pity on you and give you a re-deal. If you are lucky or just smart enough to earn such a reward, of course. 93

It Takes Fierce Will To Get Ahead in This World

2012-01-17T03:19:00.009-06:00

Created over a decades long period, and finally put into motion resulting in one 2011's most fascinating films, The Tree of Life is Terrence Malick taking his strong visual aspects and unleashing them to a rather heavy extent. Although this film does have an underlying story arc, this merely serves to benefit the main heart of Malick's latest offering, giving the audience a spiritual and emotional encounter that is rather breathtaking and very meaningful.

Reportedly being about a huge loss and a big blow to an American family, Malick dives deeply, focusing largely on enlightenment, to a certain extent. Although I do not propose to truly understand what the director in this case was truly aiming for, one can go off on what he quite possibly had in mind, or at least speculate on this film's greater meaning. Yet maybe there is no real actual sense of truth, or possessing the ability to make real actual light of what can be merely known or unknown.

Perhaps what Malick truly is aiming for beyond featuring the cosmos, the stars, dinosaurs, life beyond this life and into the next, our most basic notions of reality completely shattered by a supposed higher power. This movie wisely does not impress upon the viewer the need to belief in God, Buddha, Allah, even the massive Spaghetti Monster that flies around. That is this film's most notable achievement, utilizing a brilliant soundtrack and expert scenery and picture, submerging oneself in a truly immaculate experience.

"Mother, father. Both of you wrestle inside me." That line speaks to me strongest of all, even as the main character dwells on his past, wondering if it will lead to a more vibrate future. Such puzzles are left rather unsolved, for what happens next in our lives is left unwritten, the past maybe not so much a window into how we will turn out as we grow older. This could either be wisdom or foolishness, however only we can discover this for ourselves. 95

Espionage, Blackmail and Virtual Reality`

2012-01-17T03:03:00.004-06:00

Most of Michael Crichton's books have been made into movies, this film being an adaption of one of his most famous books. Especially considering this film centers on the rare instance where a man is actually sexually assaulted by a woman, which results in her actually accusing the man of assaulting her, instead. Really that is something that normally happens in these instances, but of course since it is from a book by Crichton nothing is what it truly seems.

Even though this movie has its fair share of limitations, this is still a rather engaging corporate thriller/drama that manages to be rather entertaining. The major players involved are populated by a talented cast featuring Michael Douglas, Demi Moore, and Donald Sutherland. Some of the plot actually centers on the fact that an aging executive is forced to battle not only for his career, but also fight to avoid being labeled as a sexual harasser. What's even more interesting about all of this is how the film covers possible new technologies, reflecting how many of Crichton's books managed to mix fact with science fiction, although this movie is more heavy on the drama elements.

How this film closes out, and what lies at the truth of the matter is to be discovered for the viewer themselves. Disclosure is mostly a tightly paced film, utilizing its great cast and dealing heavily in sexual politics. Although this movie could have gone deeper into its aspects of male v. female, there is enough on the surface level to make it a fairly solid movie. 85

Top 10 Of The 70s

2012-01-14T14:05:00.012-06:00

In order from 1-10:

Snow, snow go away come again on a really sunny day

2012-01-12T02:10:00.004-06:00

Hey that rhymed. Anyways, its 2 am right now and I already looked out my window to catch the first actual snowfall of the winter season. I guess I should consider myself lucky that it took until January 12th for actual snowfall, but really this makes me grumble instead and wonder why there had to be any kind of snow at all. For those who are currently unlikely enough to be driving at this hour, its also blowing snow, which makes visibility rather difficult, not to mention quite low. White powder flying around and covering up your windshield apparently causes driving to become quite dangerous, for some reason. But of course you need to be able to see where you are going while operating a rather large vehicle composed of plastic, metal, and glass.

According to the weatherman (or woman, but usually it is a man) the expected level of snowfall for tomorrow is supposed to be 4.4 inches. Wonderful. At this stage of the year 2.0 inches would be enough to for at least a school delay, so I imagine that schools will be canceled or let out early for Thursday. I am pretty sure that 4.4 inches is enough for sledding, a snowball fight, and of course a snowman. Since I will have to go outside and shovel today, I'm skeptical that sleep is even required, or will be necessary. You can always just accomplish the job and then take a nap, I suppose, unless you have to go to work that same day. Since I am unemployed at the moment, I do not.

What a really boring blog post this has turned out to be, but that's okay since no one reads this and I could practically post whatever the hell I want. Alright not anything and everything, but still my point remains the same. There is something to be said for not ranting, however the snow always brings out the worst in me. Especially since people in this town seem to lack the ability to drive in it for some reason or another. I imagine in six and a half hours I will be trying to dig my car out, since I foolishly left it in the parking lot across the street and the snowplow crew will have buried it completely. Grumble grumble.

Three Thieves Plotted and Schemed

2012-01-05T22:04:00.001-06:00

Despite having viewed two of his other movies, Le samouraï, and Le Doulos, I decided to discuss Melville's 1970 crime drama/gangster movie not only because I own it, but because its become a new favorite of mine. Despite being better than Le Doulos but not as good as Le samouraï, it is still a great film, made in a similar vein. Only instead of one man living by a strict code of honor, its three men from different backgrounds brought together by the common goal of a grand heist. Say what you what you will about the men, but the film makes it rather clear that not only this is the life they've chosen, but forces beyond their control and society having already decided their lives results in them having no choice but to break the law.

If the thought of thieves and murders have a code of honor which they obey, and that no one else understands sounds familiar, then perhaps you are already thinking of John Woo's movies in the 80s and 90s. In fact, Woo wrote an essay for the film's Criterion release, and after reading it I further understand the movie's themes, and the impact it and other Melville works have had on Woo's career. Just like Meville I've only viewed three of Woo's movies, but The Killer and Hard Boiled both bear the same stamp that Le samouraï, Le cercle rouge, and Le Doulos made on Woo's films. Although I think that Le Doulos is in some ways quite different from the other two Meville films. I wish I had more to go on concerning Melville, so this review could get an update in the next couple of years.

What's even more fascinating about Le cercle rouge, and why it takes its place among top tier crime movies, is how Melville lets us examine and judge his characters. We find them to be less than moral, and yet instead of the police they abide by their code of conduct. I wouldn't say that the police are portrayed in a negative light, but rather they are seen as the opposing force set against the band of anti-heroes. If Melvillle could be accused of backing a group with a murder, a burnt out ex-cop turning to crime, and a career thief, and perhaps even painting them as "Cool," then he suffers from the same charges that have been leveled at Woo as well. I don't think they are fair, really, especially considering how these types of movies turn out. The heist scene alone is perfect, combining suspense with a level of timing, yet its barely takes up most of the film and really doesn't have the same level of importance.

Oh and on a further note, I did like how Melville gave the cops pursuing the gang a face with the aging, old detective. Although by now something of a cliche, the dogged policeman endlessly chasing people is something that was still a tad fresh even in the early 1970s. Not sure we needed scenes of him at his home, though-I felt those were the weakest elements in the film.

Nope, instead the group's attempts to constantly avoid capture and to profit from their success usually is the more entertaining, and captivating, part of this film, although that's not true of all heist movies. Yet Melville's sad portrayal of destiny and an inability to escape one's fate in life makes the final act more film noir than gangster movie. Its a quality that he has in his crime films that make them more engaging and real than any average crime drama or movie about criminals. What a welcomed addition to my movie collection, and really a film that I think could be discussed a little bit more.

PS: I've noticed that I like to buy crime movies on Criterion a lot. The genre endlessly fascinates me, and many of the movies they have in the collection are ones I've never even heard of before. Although this review stems from a second viewing-I rented it from my local library before I ended up purchasing it at Barnes and Noble.

Journey To the Center of the Caucus

2012-01-04T15:00:00.002-06:00

Four years ago, I decided to support Barack Obama over John McCain in the 2008 Iowa caucuses, thus resulting in me voting for Obama for president. I wish I could say that in my regret over supporting him that I was at least foolish enough to buy into the whole "Hope and Change" slogan, but being usually skeptical of all politicians I merely thought he was a decent enough politician worthy of my vote, unlike the others running for office at the time. Things change, however, and by this year I had decided that Obama not being reelected was not a bad thing, provided the GOP field had some halfway decent candidates. After doing some heavy research over the span of a year, I decided to caucus for Ron Paul.

Mostly I was attracted to his stances on civil liberties, and the fact that he advocated cutting both taxes and spending, something that this country needs to do to emerge from a rather bad period of low economic growth, a higher deficit, and less optimistic outlooks on the future. While Mitt Romney appears as a merely decent/sub-standard option (the rest of the GOP field being rather laughable, unfortunately), I will admit that him rather conveniently changing his positions on some issues to be off putting, to say the least. Yet, when compared with President Obama I would probably consider voting for Mitt Romney instead if he is the nominee for president, or just writing in Ron Paul. Although one can argue that doing such a thing is "Wasting One's Vote," I have always been under the mindset that the only way someone "Wastes" their vote is by not voting.

Now the Republican caucus turned out to be rather different from the Democratic caucus in some regards. Regular party business was discussed, and from my memory I do not think the Democratic caucus in 2008 had planks (issues that people could choose to support via their signatures), although I could be wrong. Unlike the Democratic way of choosing candidates, which involved people forming into different groups, with the process ending with the top three groups who got the most candidates, the GOP caucus was a bit less chaotic. People were actually invited to stand up at the podium and speak in favor of their candidates, and then after more party business was discussed everyone in the audience was given a piece of paper and told to vote for their candidate, which is more of a secret ballot process.

Both styles of caucus are rather interesting, although I must say that the GOP process is a lot faster although less entertaining. Since I am usually a registered Independent, there is a decent chance I might be participating in either caucus depending on the candidates each election cycle, although maybe I'll finally choose a party in the next 10 years and stick with it.

Most Anticipated 2012

2011-12-12T17:14:00.008-06:00

This is a premature list, and it will be subject to edit as the year goes on, especially since IMDB.com did not have any listenings past November. Note: Most of the ones featured have not had trailers come out for them yet, so its quite difficult to judge which ones will move up and which will move down as the year goes on. Also * indicates that I have already seen a trailer/teaser for the movie.

1. The Dark Knight Rises*
2. Skyfall
3. Django Unchained
4. Prometheus*
5. The Hobbit Part 1*
6. Moonrise Kingdom*
7. The Hunger Games*
8. The Avengers*
9. Brave*
10. The Woman In Black*
11. John Carter*
12. Wettest County
13. Dark Shadows
14. Gangster Squad
15. Total Recall
16. The Amazing Spider-Man*
17. The Expandables 2
18. Looper
19. Cogan's Trade
20. Cosmopolis

You're Not Really Paranoid If They're Really After You

2011-12-08T15:59:00.003-06:00

Considered part of an unofficial "Apartment" trilogy consisting also of Rosemary's Baby (1968) and The Tenant (1976), each of these movies not only features paranoia, but also focus on how close quarters can led to claustrophobic feelings, possibly ending in madness. Polanski is rather negative in Repulsion (1965), inferring in this trilogy that you cannot trust your neighbors or even close friends and family. He repeated this idea of "Trust No One" in some of his other movies, too, such as Chinatown (1974) and his latest, The Ghost Writer (2010).

The main underlying force in this film is sex-after all, the rather fragile and delicate female protagonist, Carole (played by Catherine Deneuve) has a truly warped view of reality. Her nightmares are disturbingly real, and therefore Polanski begins to slowly but surely blending fantasy and reality to accelerate the decaying of this girl's mind. She slowly descends into insanity, as the film never stops being terrifying or really lets up after this poor girl is left alone in the apartment she shares with her sister. Withdrawing into herself even further is just the final straw, as further exemplified by her failure to realize a potential suitor is not trying to murder her.

In a rather clever fashion, Polanski masks the true reasons for her behavior, never stating what ends up being rather obvious. The final act is fairly outlandish by necessity, signaling Carole's final break with what is true and what is false. It also includes a moment that is cruelly ironic, especially considering what previously transpired. In some ways her fears were justified, yet really they reflected a twisted version of feminist paranoia, where women must be on their guard against wolves in men's clothing.

Considering that the 1960s was the decade of Cold War fears of communist invasion and infiltration, plus nuclear annihilation, Polanski's films fit in quite well, which is a tad unnerving since they reflect a bleaker view of humanity. The fact that 1960s horror and suspense fixated on fear of the other, and mistrust of strangers is fascinating, perhaps reflective of that era and building on the previous decade's mistrust of anything different. 95

This Neighborhood Watch Doesn't Screw Around

2011-11-27T19:10:00.003-06:00

In some ways a homage to other similar sci-fi, horror, and action movies, yet also offering its own twist on such material, Attack the Block is pretty good. Even a tad unique, perhaps, and the film never really lets up once it gets going. Although there are some racial and economic politics lurking underneath, the movie really doesn’t take any time to explore them, which is probably its greatest weakness. Still it’s really entertaining and a lot of great fun to watch. The largely unknown cast plus Nick Frost is pretty good, and the film has oddly sympathetic main characters despite them being lower-class criminals.

The head of the group, Moses, makes the mistake of killing an alien along with the rest of the group. They beat it to death, thinking that’s the end of it, yet this action only starts a small war between the gang members and a hostile race of animalistic aliens. The film has a surprising amount of gore-violence is merely expected since the movie features thieves and gangsters. Frost’s role is a tad small, and he’s merely present for comedic relief only in a movie where aliens with glowing eyes are killing people and threatening others. Since the group does not have access to guns, it makes things even more suspenseful, as they have to use simple, home made weapons to battle back the menace threatening their lives.

Taking grace notes from Aliens, Tremors, Assault On Precinct 13, and others, Attack the Block is a good addition to the sci-fi and action genres. Considering its tight budget restraints, the FX looks great, and despite it being tightly paced the movie oddly manages to develop its characters enough that the audience actually has a reaction to them. Joe Cornish clearly has a sense of style, pacing, and economy, and thus he will hopefully go on to make bigger and even better movies. Oh and yes I would like a sequel, despite how the film actually turned out. Whether or not that happens remains to be seen. 90

Troubles Lying Underneath the Surface

2011-11-27T18:11:00.002-06:00

One of Nicholas Ray’s earlier, more well known films, this one is as much a romantic drama as it is a film noir. The main character, Jim, portrayed by Robert Ryan, is a brute, a violent detective working in a bleak urban jungle. In one scene, he mercilessly beats up a suspect, uttering “Why do you do it? Why do they all do it? You know I’m gonna make you talk. I make all your punks talk.” It’s a rather chilling moment, and it only illustrates how close to the edge this man really is.

Rebuked for this disturbing act, he’s shipped out to the countryside to solve a murder. There, he finds a father bent on taking justice into his own hands, and thus Jim experiences a role reversal. Jim goes from being the aggressor to advocating restraint, which begins his transformation into a more civilized man. Even though he too wants to see the killer caught, this time he opts for by the book. No loose cannon, rule breaking or bending this time. The father, in criticizing Jim’s notions of justice as being that of the city, only underlines Ryan’s slow realization that his previous ways were wrong, or at the very least gross overreacting.

Ida Lupino’s blind woman, who ends up actually being the killer’s sister, throws a wrench into all of this. Here the film switches from noir to love story, as she melts Jim’s cold heart and dents his gruff exterior. Either she will be the key to his salvation, or damn him to loneliness. How that plays out must be viewed, and I really found the film’s conclusion to be a bit unsatisfying. Ray’s original’s ending was scrapped in favor of what the studio wanted, which is a shame.

Boasting incredible, expansive cinematography that captures the lonely and empty landscape covered in snow, On Dangerous Ground is a really good film. The score by famous composer Bernard Herrmann also adds to the proceedings, and Ryan turns in another fine performance. Ray has made better movies than this one, but once again he his themes of alienation and lonely souls seeking companionship in a harsh world, shines through. 85

MadMan's Totally Awesome DVR List

2011-11-26T00:07:00.009-06:00

Ah the magic and wonder of DVR. Its a good thing to have, especially since it doesn't require a VCR or having to endlessly buy blank tapes. Here's a list of movies I have to view and delete so I can have space for more movies and TV shows:

*Ivan The Terrible Part I (1944)
*Ivan The Terrible Part II (1946)
*Equinox (1970)-85
*Matinee (1993)
*Limelight (1952)-95
*Lost In America (1985)
*The Blue Angel (1930)
*The Devil's Bride aka The Devil Rides Out (1968)-84
*The Iron Rose (1973)
*The Lusty Men (1952)-90

The Disjointed Angry Ramblings of the Disenfranchised

2011-11-21T16:32:00.007-06:00

Some of you are already familiar with the whole "Occupy Wall Street" movement, which has emerged out of nowhere and has captured attention, both negative and positive. They are the ones behind that catchy slogan "We are the 99%!" and have also been known for taking over parks and streets while engaging in "Mic Checks" and waving signs. Really its a rather loose collection of people who became angry enough to exercise their First Amendment rights in a rather epic and outlandish fashion, and that's fine so long as they do not cause violence. What's rather curious about how everything has gone up to this point is that there have only been isolated incidents of violence committed by protesters, where as police brutality and negative reports of police overreacting have become fairly widespread.

Now I do not actually condone the movement, even if I can possibly understand their frustration. Its great that people still care enough to try to fight the powers that be and engage in freedom of assembly and protest. Wonderful. But you won't seem me joining them because I do not believe they will achieve anything with this. Now if they all had a million dollars, it would be different, because then they could get into all those wonderful meetings with Congresspeople that the rich so seem to enjoy. Wall Street however is not solely to blame for the current economic recession/depression/malaise. After all, the politicians decided to deregulate, to completely gut the protections this country previously had against the big firms such as Fannie Mac from going under and requiring bailout money with no strings attached.

Such deals were utterly terrible, especially since most of the bailouts also involved the corporations getting these bailouts not having to fully pay back the money loaned to them. I could go on and on about the 2008 mess, but it is not doing us any good so we'll look to the present. There are those who say that the OWS movement does not need one voice, that it should be unwilling to form a cohesive message. Yes they are afraid of being taken over by a Democratic party that is just as responsible for the mess we are in as the Republican party is, since after all both parties cater to the rich at the expense of the middle and lower classes. Sooner or later all this anger about income inequality and the fact that the richest people in this country hold most of the wealth is going to boil over. God help us if it ends up doing so.

Violence is really the last thing I want to see happen, and its disgusting that a woman was actually maced in the face. Such nasty tactics should not occur, however in the interest of fairness there are more accounts of the police just watching the crowds and leaving them to their own devices, provided the crowds do not turn violent or angry in any way. Another issue with the movement is that it has attracted crazies and even racists, but as The Tea Party can attest to once a group is started you are bound to get some loonies who jump onto the bandwagon, often looking to cause trouble. Its funny that I dislike both the OWS and Tea Party movements, when to a certain extent both groups are looking for a common solution while debating different aims to accomplish that and bring America out of its current economic crisis.

The American Dream is not dead, last time I checked.

Everyone You Love is a Zombie

2011-11-13T05:40:00.002-06:00

1977 was a good year for horror movies like Suspiria (Argento), and Martin (Romero), both which are now considered cult classics. At this time, a budding Canadian filmmaker named Daid Cronenberg, fresh off a series of student films and his first feature movie, "Shivers," gave the public a new twist on the zombie genre. Rabid is in some ways a zombie moie, sure, but its also a disturbing tale of love and infection.

All this starts out innocently, as a couple suffers through a terrible motorcycle crash. The girl has burns on her body, so a nearby plastic surgery clinic performs a risky and new procedure on her. Which saves her life, but results in her experiencing classic Cronenberg body mutation. The fact that she has a strange probe creature thing inside which leads to her infecting others in a wanton sexual bloodlust was fairly different for 70s horror. At the time, Cronenberg was still forming his own unique style-gory, horrifying movies that challenged people's previous notions of what was shocking.

One cannot ignore the fact that they were smartly made, too. Interesting that Cronenberg's disease outbreak merely predicted fears of outbreaks later on, ones that occurred in places such as the United States and Hong Kong. Although such scares didn't involve martial law, or shooting people, of course. The body horror element found in so many other Cronenberg movies is incredibly strong here, although his version of "Typhoid Mary" is less human than the actual one that did exist.

The best moment in the film happens when an infected woman turns into a zombie, and proceeds to attack a man on a crowded subway. Its a frightening moment, well executed, and an example of how to capture panic and fear onscreen. Despite its low budget limitations, and some week acting (Marylin Chambers though is really great in this), Rabid is a freaky and unreal depiction of a rather serious disease outbreak.

In some ways its inspired by Romero's lesser 1973 film The Crazies, but works in a less apocalyptic fashion, and is also more scarier. Since it further aided in the development of Cronenberg's career, and can be attributed to the expanding of his style of film making, this movie is rather notable. It also happens to still be one his best films. 92

Friend Request Pending

2011-11-13T05:20:00.005-06:00

Editors note: This was written in 2010, way before the Oscars. So its a bit dated.

A more humorous title for this film would have been "Facebook: The Movie." When I first heard of this film, I wasn't sure what to think. Then the favorable reviews poured in, and I became rather curious. The Social Network lives up to the hype, largely because of David Fincher's direction, and also due to Aaron Sorkin's sharp screenplay. Whether or not its truly accurate (probably 60-70% true) is up for debate, especially considering Mark Zurkerberg's criticisms of the film. His reaction is rather unsurprising, because the movie paints him and most of the main players involved in a negative light. This shouldn't lead the audience to ignore the fact that the film also tackles the subject matter in a rather complex manner, one that is actually rather honest as well.

Really though that's often the nature of capitalism: its a nasty business, existing in an endless state of nature. The strong and smart survive; the weak and slow don't, and getting there first is all that matters. Sure Zurckerberg was incredibly smart, yet he also understood the concept of getting ahead. Even if it involved stealing an idea from what were supposed to be his collaborators, who were a pair of twins and their friend. Or going with the advice of a self-serving "friend" in Shaun Parker, even though that decision leads to his only friend, Eduardo, getting screwed over.

Zuckerberg's decisions lead him down a road that ends in great personal wealth, but also leave him feeling a bit empty. The final shot not only reflects this, but also manages to be pitch perfect and sadly humorous. I am somewhat reminded of Citizen Kane here with, Eduardo in the Joseph Cotton role and Zuckerberg's ex-girlfriend almost serving as Rosebud, or as Kane's second ex-wife, who never understood him. One could almost see this as being true, although I am not entirely convinced that Fincher and Sorkin have simply remade an American classic.

For one thing, The Social Network in the end has rather different subtexts, and tone wise the two movies are not the same. Unlike Citizen Kane, where we never understand Kane and that film's ending makes that clear, Fincher never leaves any doubt about who or what Zuckerberg really is. "Your not an asshole, Mark. You just try really hard to be one," is a perfect line, and expertly sums up what the audience is left to think.

In fact, that may be The Social Network's major flaw (there are minor ones, of course, but I'm not one to nitpick)-that its perhaps too easy to decide how one feels about Zuckerberg even though Fincher wisely abandons standard biopic cliches and makes a really smart movie. One that is really a truly 21st century movie for the modern, current technology based generation. Something that may date the movie when its examined decades later, that's a risk that most movies take, anyways.

Come Oscar time, hopefully Trent Reznor and Adam Ross' fantastic score doesn't get overlooked. Whether or not its great cast, Fincher and Sorkin, or anyone else involved gets noticed come awards time is irrelevant to me. Although one would hope that in a rather weak year, one of the best, if not the best, movies of 2010 gets a best picture nod, at least. 100

The Monster Within

2011-11-13T05:06:00.003-06:00

Heavy on atmosphere and cloaked in an air of mystery and art house style, this film is very different from the average horror movie. At its hear though is a French retelling/twisting of previous so called "monster movies." There's something here that engrossed me, and required me to actually engage my brain. Something that all too many horror films do not actually require, although that's not necessarily a bad thing.

The "mad scientist" is the father of a horribly disfigured girl. A prominent plastic surgeon, he blames himself for her mangled face, ruined beyond almost all repair. In desperation, he has his lovely assistant kidnap young women; all in a vain attempts to give his daughter her face back. She has become a monster to a degree, inspiring pity in a handful of lyrical scenes. And yet with the blurry, quick glimpse of the terrible scaring, she frightens and horrifies the viewer. All of this reminds me in a way of Frankenstein's monster and other creatures who were born out of certain horrible experiences, and while also being somewhat sad due to not having the capacity to to live a "normal existence."

In this case, I have to note that the film doesn't completely sustain the rich, built up atmosphere. Although the musical score, which reminds me of the score for [i]Little Shop of Horrors[/i](1960) sounds like a demonic carnival, does work despite what some otherwise say. It works because by the final frame, we have witnessed something truly bizarre. There is of course also thoughts on beauty and how society prizes beauty to the point where it becomes vanity, but I thought that was rather obvious and not as important.

Besides all this, "Eyes" is a clear example of how horror can contribute to cinematic art, that the genre is much more than gore and random violence. For that alone it deserves to be noted, perhaps even celebrated. Although it falls short of greatness, this is a film that stands a very good chance of cracking my ever evolving Horror Top 50. 90

A Blessing and a Curse

2011-11-13T05:03:00.002-06:00

Unlike the rest of David Cronenberg's 80s movies, this one is his "Most Normal," so to speak. Adapted from a novel by Stephen King, the film is a strange and eerie tale, a warning about the power of destiny. It does lightly touch upon body horror, as Christopher Walkien's Johnny Smith is strangely evolving, a part of his brain long dormant, suddenly mutating and coming alive, giving him the bizarre power to predict the future.

Unsurprisingly at first this power is viewed as a curse rather than as a blessing. Regarded as a freak and feeling strong alienation only made even more worse by what he's lost, Johnny decides in the beginning to to hide away, going inward into himself. This of course changes, notably because of the invisible powers that start driving him to help others, which is the movie's main theme. If you could see something terrible that would occur in the future, would you do something to change it?

The answer to that question is not so simple, especially in the case of Martin Sheen's chillingly portrayed, psychotic and charismatic presidential candidate. He too believes not only in destiny, but also thinks that he has been chosen by God to become president of the United States. While the movie properly explores how and why Johnny decides to use his power, its problem is that the film is too short-there are not enough cases of him using his power to help the viewer determine if its really a good or bad thing. Sure this leads to him helping people, yet people also brush his assistance aside, which really renders him a bit useless. Yet those people do so at their own peril, for he's never wrong-after all, destiny has selected him to be its unwilling vessel.

There's something also rather creepy and really odd about this entire movie. Perhaps its due to Walkien, who's always had a weird quality about him, or maybe its due to the really bizarre subject matter. Some terrible things happen during the film's running time, and they too serve a purpose. What one takes away from this movie is that Johnny is both a creature of sorts and also a man, possessing a rare gift that he uses for good, not evil or to play God. Interesting that such a change from Cronenberg's norm results in one of his best movies, although it still fits into his usual style. 90

Hey kid, you want a toothpick?

2011-11-10T22:03:00.003-06:00

Really I can’t get that song out of my head, although the same can be said for the rest of Drive’s fantastic soundtrack. Even though I have not viewed the movies that inspired what currently is the best movie I’ve viewed this year, that’s irrelevant since its 70s and 80s inspired style is quite noticeable and fairly obvious. Opening the film with shots of a shiny, neon-lit metropolis, the film wastes very little time in showing us its main character, a man who truly does not have a name, who remains to the movie’s final shot a mystery really undefined.

Which makes him like other previous cinema loners, men and even women who choose to abstain from company, not letting anyone truly get close to them. Despite those who argue that The Driver has some sort of mental disorder, be it autism or something else, I disagree-he is merely a man who says very little, choosing to let his emotions and actions dictate how people respond to him instead. His truly badass 1970s car is more of an extension of his personality, but it rather reflects who he truly is-and his Scorpian coated jacket is, to quote Nic Cage in Wild At Heart, “A symbol of my individuality.”

Naturally of course something has to go and ruin his carefully planned out and perfect world, as his decision to care about someone not only leads to lots of death and violence but also, as stated by Albert Brooks’ quietly menacing gangster, that “You will be looking over your shoulder for the rest of your life.” Despite all this, The Driver never stops planning ahead, striving to emerge from the mess of a situation that he really did not create in the first place. The city of LA, once a prime spot for him to make his way in the world, turns into an dangerous world that puts him in harm’s way, even more so than driving people on jobs around the city by night, or being a stunt man by day.

The cast for this movie is truly excellent, and even though characterization is a bit skimpy that can be excused when the story is air tight and the film does a great job of creating incredibly memorable and well crafted bits of montage that are very effective. Without Ryan Gosling keying this movie with a performance that is remarkable, the film wouldn’t work quite as efficiently. Acting mostly with expressions and his eyes, Gosling gives his character a strong, calm yet steely gaze that never goes away. He remains largely unflappable, choosing to express his rage only when the moment calls for it, such as in the elevator to protect Carey Mulligan’s character, or when he is forced to torture a man in front of his employees. Not to mention the fact that his scenes with Albert Brook’s Bernie are just as interesting, because Bernie does most of the talking and yet despite this the Driver never once tips his hand nor does he give the impression that Bernie actually frightens him at all.

Other notable aspects include the film’s daft handling of violence, choosing carefully when to display blood-letting, which figures in also to the movie’s overall daft touch and stunning visuals. The fact that the movie almost works as a loose version of Shane is also great, as the movie seems to mix film noir in with a western movie style that almost ignores its urban modern setting. Not to mention the finale, which is surprising and also highly fitting-despite what many people think, the film could not have ended any other way. Drive is an excellent addition to cinema, and in a world of crappy, over the top and too loud action movies such as Transfomers and the Fast and the Furious series it’s rather refreshing. Not too many movies like this come along, and when they do serious cinema fans have a duty to give them their full attention. 98

Avoid Her Stare, Her Gaze is Poison

2011-11-08T15:17:00.003-06:00

Known for his Dracula and Frankenstein movies, Terence Fisher also directed other Hammer Studios movies. One of those was The Gorgon (1964), set in 1800s Germany-the 1800s usually being the setting for most of Hammer Studios' movies. Despite starring Christopher Lee and Peter Cushing, this movie is a tad dull, and isn't as good as it could have been. Not only is the Gorgon introduced way too late, but the movie really moves too slow to build up any sense of dread or atmosphere.

Those two crucial elements were not missing in the Horror of Dracula or Curse of Frankenstein, although its not fair to compare this movie to those two classics. Still Cushing, and Lee in a smaller role elevate this movie to decent status, and the overall mystery is not too bad. The woman at the center of all this, who happens to be Cushing's assistant, is at least easy on the eyes. Hammer Studios films, considering they were filmed in 1950s and 1960s Britain, never really featured strong female characters.

Really a few entertaining scenes aside, this movie only becomes particularly interesting near the end. This type of story would have worked better in a much shorter form, or perhaps as just an episode of some horror/fantasy TV show. Too bad, since the myth of the Gorgon is actually quite fascinating.

Things That Go "Bump!" in the Night

2011-11-08T14:54:00.003-06:00

Clouded in mystery, cloaked in secrecy, they dwell up in an utterly hopless land, upon which an ancient castle dwelling sits. Their desires and aims remain secret until a couple, like in so many horror movies, decides to travel up there, as the brides wishes to pay her relatives a visit. Little does she know that they are forever cursed, beings that drink only the blood of the living to satisfy their thirst. Anyone who enters this abode risks being transformed into a creature of the night, doomed to wander the earth forever as one of the undead.

Visually stunning and expertly shot, Le Frisson des Vampires; Strange Things Happen at Night (or titled The Shivers of the Vampires) is rather fascinating. The film's lack of a good budget is rather obvious, for the costumes are odd-at one point the head vampires are both dressed as if they just came from Woodstock-yet that in addition to the movie's weak acting can be overlooked. However, Jean Rollin does not properly explore his themes enough, nor is he unable to build upon them to create a movie that is actually greater than the sum of its parts. This is a shame, as he tackles the vampire in a manner rather different and interesting than most directors normally do. Really he would have benefitted greatly from working with Hammer Studios, but by the 1970s Hammer was falling into decline.

There is also the matter of the last act, which is a bit surprising and quite haunting. A choice is made, the issue of opting for damnation instead of salvation sealed by, funny enough, strong blood ties. Others make a rather different choice, yet in the end no one really finds true happiness, save for a select lucky few. One could mediate upon these things, but they would only uncover that fate is a cruel mistress.

You Never Know What You'll Encounter On That Dusty Road

2011-11-07T06:46:00.002-06:00

Playing out as a strange dream gone horribly wrong, this cult film noir movie plays all the right notes. A man recounts his endless string of bad luck, events that occur in haunted flashbacks that to him seem more of a general haze than anything else. He was once a musician, now he's your average bum, playing gigs for very little and struggling to get bye. Despite heading towards California and his girl, he discovers as he lays it down straight to us, the viewer, why you never hitchhike.

Even though this movie's low budget limitations show through, the dialogue is still tense and tough, the film's bleak and mysterious atmosphere rather strong. Since the poor loser who is the film's protagonist has very little idea of why any of this is happening to him, neither does the viewer, and its fascinating to sit back and watch as he encounters both an odd stranger and then later you standard female fatale.

Most of the film is also remarkable for setting film noir standard cliches, or at least being one of the earlier most famous film noirs to help pave the way for others. Even though Out of Past, a much better film noir came out two years later, this picture is a good one in its own right. Interestingly enough it also helped inspire some better movies decades later, as I'm fairly sure that David Lynch borrowed from this movie for his underrated and excellent Lost Highway.

We Interrupt This Horrorfest To Bring You The Following

2011-11-03T23:17:00.017-05:00

Or quite frankly, you never know what you might find while digging through the Internet. In the process of trying to properly cover tax plans drawn up by the many GOP nominees, I stumble onto this little fun tidbit that I have to be certain others must know about, too. That Herman Cain stole, borrowed, whatever have you, his 9-9-9 tax plan from a video game. That's right, a video game. I'm not making this up.

Here's the link: http://www.dailymail.co.uk/news/article-2048969/Did-Herman-Cain-999-tax-plan-SimCity-video-game.html

Really you've got to be kidding me. This is supposed to be the potential nominee for the GOP in November 2012, and he's taken his main bread and butter tax plan from Sim City 4. From a sequel, I might add. Now granted these days originality is practically dead, and everything has been done before, but this is ridiculous. Never mind the recent stories about Cain being accused of harassment, which to their credit The Daily Show managed to make them funny despite them being really creepy and alarming, the fact that his tax plan is even more of a shame than previously thought is eye opening. This is even more important because the election will, despite any attempts by either the GOP or President Obama and the Democrats, come down to economic issues. Who has the best tax plan, which will help lower the deficit and cut spending?

Never mind that Cain's plan will hurt him dramatically in New Hampshire, one of the states that does not have a sales tax. Not to mention Alaska, which is able to use profits from taxes on oil to also avoid having a sales tax. I would laugh about the 9-9-9 plan, but since Cain has a shot at actually winning Iowa and is running high in the polls, taking a good hard look at something that could be a complete disaster if enacted is absolutely crucial. It’s bad enough that Rick Perry is floating the dead horse issue of a flat tax, too.

Although really our glorious leader, President Obama, has yet to even tackle tax reform. Sure he's cut taxes and let the Bush tax cuts for the rich continue onward, but it’s clear that he's either saving the need to reform the tax system for later, or maybe not at all. This country does need to have a serious discussion about how to better improve a system that actively requires to so many people to hire someone else to actually do their taxes. That's outrageous, and sadly not surprising; at the same time though, what they do not need is a plan taken from a game where you can build your own magical city. Fantasy land shouldn't be the basis for actual policy.

Nightmares and Ax Murders

2011-11-02T17:33:00.004-05:00

Produced by the legendary Roger Corman, who is as much responsible for modern cinema as anyone else, Dementia 13 (1963) was directed by Francis Ford Coppola before he became world famous and created four masterpieces in the 1970s. Despite not being as great as his best work, its still a good solid film that has a decent atmosphere and is in some regards rather eerie. Plus it sports a demented and creepy film score that is underrated.

Desperate to keep her share of her husband's family fortune, a woman covers up the death of her husband and comes to stay at his family's foreboding and old castle in Ireland. While there, she uncovers a dark secret, only to come face to face with a madman wielding an ax. Although the first act is largely set up, when the viewer and the scheming woman encounter the film's primary villain, the movie becomes much more interesting. For you see, a girl drowned years ago, and within this mystery lies the answers to what is really going on with a family who's mother feels is cursed.

Even thought this movie is not scary, there are some good tense moments and Coppola manages to keep the film's secrets mostly hidden until the final act. A couple of scenes feel rather fresh, and the movie overall has a strange quality to it-in some ways Dementia 13 is more old fashioned gothic chiller than it is a 1960s slasher movie. Thankfully Coppola moves events along, and is wise to not draw out anything at all.

Although the film's low budget style and trappings result in a weak cast and limited effects, Coppola used this movie to try and be noticed. The fact that Corman saw something in a man struggling to get his start in Hollywood and gave him an opportunity, later being proven right about said fellow's talents, is why Corman's true talents lay beyond merely making movies geared to make a profit.

My Sister is a Werewolf

2011-11-02T17:17:00.003-05:00

Even though there are women directors, when it comes the horror genre it has the feel of being largely dominated by men instead. So when a strongly feminist, women oriented movie such as Ginger Snaps comes along, people take notice. In this case the movie is quite possibly one of the best werewolf films ever made, taking some of that particular sub-genre's mythology and using it to articulate ideas about adolescence, womanhood, and even growing up.

Two sisters who are incredibly close are the main focus here. Bridgette, the younger of the pair, and Ginger, the oldest, do not fit in at all. They are picked on in high school, misunderstood by their parents, and get in constant trouble with their teachers. So when Ginger is attacked by a werewolf, their problems only get considerably worse. Naturally Ginger denies that what tried to take a large chunk out of her arm was actually a person who turns into a hungry wolf creature when the moon is full, but B (as she is known) from the start is unconvinced.

Feeling left behind by Ginger completely turning into a different person, B turns to a fellow student for answers, who also happens to be the guy that made the previous creature roadkill. They quickly discover that the mythology they thought they knew is only half correct, and the girls find out that seeking a cure quickly becomes the least of their worries.

Its remarkable how quick things spin out of control in this movie, and the last act is rather freaky. There is a great deal of blood in this movie, maybe even more so than most horror movies, and despite the creature effects looking a bit fact its rather cool that the movie's director choose to forgo CGI and roll with practical special effects and actual makeup. The movie's unflinching use of gore is also quite notable, although not surprising considering that werewolves are usually a rather violent animistic bunch.

Driven by rather good acting from the leads, a neverending sense of fear, and its femine take on werewolves, Ginger Snaps is a rather unique movie. Whether or not the film's sequels are as good remains to be seen. Still, when it comes to the genre this is one of the better horror movies to be released in the past 10 years.

Why Don't They Just Move?

2011-11-02T17:01:00.003-05:00

Even when viewing the best haunted house movies, the question of "Why don't they just move?" usually comes to mind. Often there are good enough answers, and in the case of Poltergeist the family tried to move, but well the house decided to try and prevent that, so the question is usually a moot point. In the case of The Changeling, a masterful film with a captivating ghost story, the main character, John Russell (played by George C. Scott) refuses to pack up and go despite the fact that his new home is very much haunted. At first he fails to realize this, yet when it becomes painfully obvious he decides to investigate the mystery instead.

Although if he did not this would be a rather short movie, Russell also decides to look into whoever is causing strange and frightening noises in an ancient home he choose to rent while trying to teach and compose music. In a similar vein as such other classic haunted house movies The Haunting (1963) and The Legend of Hell House (1973), this movie is rather creepy and unsettling because it builds up the suspense and does not rely on jump scares or cheap tricks.

One such example is a ball that bounces down the stairs and lands in front of Russell. Knowing exactly who it belongs to, and that its linked to his past, Russell gets rid of the ball, only to later witness the same ball once more rolling down the stairs. This is an eye widening moment simply due to Scott's reaction, and the fact that it underlies that whatever spirit lurks within the house's walls will not be satisfied, nor will it simply go away.

Despite uncovering the answers he seeks, Russell merely runs into more problems, and only realizes too late that his efforts may have been in vain. Expertly crafted, and driven by Scott's widely effective performance, The Changeling is an excellent ghost movie. The fact that it was released at the end of the 1970s and the beginning of the 1980s is interesting, especially the movie really has the feel of a more Gothic 1960s picture instead.

www.ghosts.com

2011-10-27T16:46:00.004-05:00

Even though it was made over 10 years ago, there's something about Pulse (Kairo) that is still very relevant to the digital age. From the movie's opening credits, which feature an eerie dial tone before revealing a girl stuck on a ship in open waters, the viewer gets the sense that technology has caused something to go terribly wrong.

Certain objects have always been the gateway to ghosts and other forms of evil in horror movies, but it wasn't until the early 21st century that the idea of the dead coming for us through our computers wasn't full explored or used as a primary device for a horror movie. Considering how they far more technologically savvy than most Americans, its not surprising that Japan would turn out a movie about how the personal computer opens the door to an unseen and menacing presence.

A group of young students who heavily use computers soon discover that something is very wrong, that slowly this close circle of friends is falling apart. A younger man, less knowledgeable about PCs than most Japanese teenagers, stumbles onto a site that features a really weird screen, and gets a message that tells him "Do you want to see a ghost?" Disturbed and unnerved by this development, he responds by quickly turning off his computer and then telling one of the friends about this. Its also no coincidence that previously one of their friends committed suicide, or that one of the friends, a male, wanders into a room and encounters something truly extraordinary and quite frightening.

What Pulse does is smartly rely not only jump scares or any such easy tactics, but instead slowly builds up its frightening elements until they reach a fervor pitch that is rather shocking. The use of a darker color palate only adds to the film's mood, and its sense of dread is often punctuated with moments that are completely surprising, such as a girl falling to her death or a teenager getting a phone call from someone or something that only says "Help me," echoing as if trapped in another plane of existence. Clearly something darker is at work here, yet the protagonists fail to properly understand what is happening, as this is a mystery that is only fully comprehended when it is too late to really do anything.

Really the trailer gave away a bit too much, however by the film's midway mark plus the ominous opening really gives away the direction it is heading in, and the ending is a bit too muted for it to have true effect, although the cheerful end credits music is a bit confusing. I will admit that another viewing may be necessary to fully understand some of the movie's more intriguing themes and aspects, although certainly there is quite a bit expounded on the fact that the ghosts are not only crossing over, but are also existing due to people becoming even more isolated and alienated in a world where technology and computers allow them to stay at home and close themselves off from having to see other people. This message may be as much a clear warning, or at least is something worth further exploring, as many writers have done in arguing against the new forces of the digital world shuttering us away from real life experiences.

When There's No More Original Ideas, the Remakes Shall Walk The Earth

2011-10-27T16:26:00.009-05:00

Unlike the original, which really plunges the viewer into the zombie crisis right away, the remake gives off a false sense of calm first. Our heroine, Ana, suffers through her dull hospital shift, goes home, spends time with her husband, and goes to sleep. Only faint hints of an ongoing outbreak are given, before her peaceful tranquility is horrifyingly shattered by the neighborhood girl. Who just happens to have been turned into a nasty, fast and hungry zombie out for human flesh. Quickly, without mercy, the film jumps into pure chaos. The opening credits set to Johnny Cash's apocalyptic track "When The Man Comes Around" are chilling, and only add to the film's overall grim atmosphere.

Zach Snyder smartly realizes that he cannot best the original, so him and writer James Gunn choose to leave their own stamp on the zombie subgenre instead. Plenty of gore is featured, and the undead's rotting corpses are both disgusting and unpleasant to look at. It helps this movie that it received a higher budget than George A. Romero's 1978 classic had, and even though faster zombies may be more unrealistic they are scarier than slow zombies, despite slow zombies being creepier. This film maybe could have benefitted from an original score, yet Synder's musical choices are actually fairly inspired, which only illustrates how music can set a horror movie's mood.

Despite having a cast that is too large, most of the characters stand out, even though only a few really evolve over the course of the movie. CJ is an asshole that ends up setting aside his own selfish plans for the betterment of the group, even aiding in the rescue of a man from a gunshop. Jake Weber's sympthatic everyman is one of the film's most likable characters, and Ving Rhames is a great homage to Ken Foree's Peter from the original. What's also notable is that Sarah Polly is given a really strong female role to play, as not too many horror movies feature those.

Some week CGI aside and a few lesser moments that don't quite pan out, this is a really good, tightly wound and paced remake that is mostly relentless. While I'm not a fan of the movie's true ending (featured over the end credits), this is one of the better 2000s horror movie releases. Its kind of a shame that Snyder hasn't made a horror movie since, although Gunn went on to direct and write the great, gross, and funny horror film Slither two years later.

Never Give Your Car A Name

2011-10-25T16:23:00.003-05:00

Admittedly I have not read Stephen King's novel, which came out before the movie was released, of course. Its a shame that John Carpenter did not direct more adaptions of his novels, as he worked in horror a lot and he's really a truly talented director. Its no coincidence that the best adaptions of Stephen King's books have been adapted by good and great directors. The opposite could be said for those that were either poor or merely decent. Christine falls into the really good category, and its rather creepy for a killer car movie. In a way the car replaces your standard slasher villain, as the titular vehicle proceeds to go on a fairly sizable killing spree. As revealed in both a early flashback and in a story later on, the car prefers to blood in its tank as opposed to diesel or premium.

Years after the car claims its first kill before even leaving the lot, it lies rusting in the field of an old man. While driving by, young Arnie sees the car and decides that he's tired of having to get rides from his friend, Dennis. Despite his own friend being wary of the purchase, and even though the old man selling him the car is clearly not telling him the whole story, Arnie doesn't car. He's already possessed by the desire to own this 1958 Plymouth Fury, and he can envision how it will look restored, all red color and cool looking tail fins included. Little does he know that the car will change him as he much as he changes it-and this is not a heart warming story about a teenager who finds responsibility. Unless you include people being run over, or the teen becoming a complete jerk.

By the time the car has been fully restored, Arnie has a girlfriend and an entire new attitude that his best friend and even his family notice. One of the movie's best touches is having Arnie dress up more and more like a 50s greaser as the movie goes on. Considering that the car warps his personality and results in him becoming a different person, having him also change his style of clothing to reflect his obsession with his ride was something unique and adds more to the movie. Despite this film not being particularly scary, its still a tad eerie in terms of how the viewer witnesses not a teen completely taken over by a vehicle, but also that the vehicle and the teen both reflect each other's personalities.

Really though the car kills mostly for Arnie, acting at times like any jealous or scorned woman. Thugs decide to trash the car? They all suffer horrifying deaths as a result. In one suspenseful moment Christine even tries to get rid of Arnie's girlfriend, Leigh, after she unwisely speaks ill of Arnie's ride. How the film ends may not be surprising to readers of the book, and it does have on really fantastic final shot. Considering other lesser killer car movies over the years (interestingly enough Stephen King directed the adaption of his other killer vehicle book, Maximum Overdrive, which was a hilariously entertaining bad movie), this one is probably the best of the whole lot.

PS: One last final thought: there is a scene where Christine pursues a man while on fire, and while watching it I realized that such a scene reminds me somewhat of the famous Radiohead video for their song Karma Police. I wonder if Christine is where the video's director got the idea from.

How to Date a Vampire: The Non-Twilight Edition

2011-10-25T16:05:00.003-05:00

When it comes to horror movies, John Landis has made his fair share, which is a bit surprising considering he's more well known for his comedies. Although Innocent Blood features some comedy, the movie is primarily a vampire movie with mobsters. Despite this being merely solid at best, its still a relatively entertaining movie with a good romance lying at its heart. Really its not everyday that a person falls in love with a vampire, even a vampire as gorgeous as this one. You just have to beware her strong bite, amazing strength, and standard predatory nature.

Marie is a rather simple vampire with basic appetites who only kills and feeds on mobsters and murders. Joe is an cop deep undercover in the mob who's cover gets blown, and thus he is hated and hunted by the mob. The man him and the police is trying to nail, Sallie (The Shark), a feared kingpin and psychopath, ends up getting his blood sucked by Marie, but she is interrupted and thus is unable to finish him off. This leads to um, certain complications that only cause more problems.

This movie is not Romeo and Juliet with vampires (although to a certain degree Underworld had that type of premise), but there is a touch and go love affair between two different people. One who is alive, and the other who is the undead terror of the night. If anything this subplot is more engaging and interesting than the still relatively entertaining main storyline, as the movie sees if its possible for a vampire and a human to co-exist together in a relationship. Luckily for Joe, Marie tells him "You're not my type," which means she's unlikely to suck on his jugular vein.

Despite featuring vampires, Innocent Blood doesn't really follow vampire mythology in strict terms-in one scene, a vampire is killed by a gunshot to the head-but it gets close enough. A few creepy moments do exist, however the movie is as much a bizarre crime drama as it is a horror movie. A possible sequel could happen, but this film is best left as a singular entry, and its not really a bad addition to the vampire subgenre of horror movies.

You Can't Keep a Good Slasher Villain Down, After All

2011-10-25T15:38:00.004-05:00

Although not as good as the first or third films, A Nightmare on Elm Street 4: The Dream Master is a rather solid entry into the series. Picking up where the last one left off, it turns out Freddy is not dead (no big surprise there). Really Freddy vs. Jason did a great job of covering how to stop Freddy: take a drug that enables you to stop dreaming, although the town where Elm Street lies went a bit too far in that approach. So its really not shocking that Freddy re-emerges and destroys those that previously opposed him in the last movie. Yet, there arises someone who only slowly realizes her power, which is that she is able to absorb the powers of the Dream kids that came before her.

Despite some way too obvious psychobabble about a "Dream Master" (no need to state the obvious), this entry has some pretty disturbing kills. Freddy was always great because he is able to kill his victims in their dreams, thus he can be truly inventive, but according to this version he also devours the souls of his victims. Which reminds me of the bad guy in the Mortal Kombat movie. The lame additions to his mythology in Part II having been discarded by this time.

Thus, Freddy even though he was more creepy in parts 1-3 is way more cruel in this installment. He turns a girl into a bug in her dream, crushing her to death (followed of course by one of his snappy one-liners.) Another kid is defeated with his own kung fu style, which only goes to show that regular human talents are no match for him. Freddy even prevents Alice, the main character, and her boyfriend from rescuing a friend using deja vu to rather sinister effect. My favorite scene, which is also hilarious, is when Freddy uses his glove to act like the shark from Jaws, emerging from the water onto land and destroying a castle shaped just like his Elm Street house.

Sure this film lacks the third one's higher stakes, and is a bit cheesy at times, but its still rather well made. Really so far (I've only seen 1-4, FVJ, and the remake) the series part II aside is really quite good through the first four films. Despite hearing mixed opinions about the next two installments, I'm rather curious to find out how the overall series shapes up. They can't be any worse than Halloweens 5 and 6, or Jason Goes to Hell and Jason X in the other two famous slasher series.

Michael Myers is Uber Patient

2011-10-21T00:58:00.003-05:00

Considering the mixed track record of the previous sequels, it was a smart move by everyone involved in the seventh film that they disregarded the storyline from 4-6. They decided instead to continue from the events that happened in the first film and its sequel, going from there and having it be that Myers waits 20 years before deciding to finally track down his sister, who faked her death and is hiding in sunny California, miles away from Haddenfield. Bow that guy sure is persistent-he never quits. Unfortunately for Laurie, this time around Dr. Loomis is dead and gone, and thus can't protect her this time with a large .44 pistol.

What makes this better than any of the sequels save for the second one, which is about equal to H20 anyways, is how its directed and executed. They went back to the eerie, creepy feel of the first two movies, changing Myers back to a stalker instead of the mass killing machine he had become later on from movies 4-6. And they also deal with Laurie's endless nightmares and fears of Michael returning, which remind me a bit of Tommy Jarvis going slowly insane in Friday the 13th Part V: A New Beginning. Updating and modernizing Michael Myers for the 90s was an interesting challenge, and they manage to be successful, even if the movie had the misfortune to be released after the first two Screams, a pair of movies that showed how outdated the slasher sub-genre had become at this point.

What was even smarter move was having Laurie finally confront Micheal and fight him head on, thus going from a victim to a victor. Without this dynamic, the movie still would have had the feel of the other ones, where its just Michael killing people followed by people running from him. Also it helped that there were no annoying child actors involved, although the teenagers fit your standard teen cliches as required, as after all this is still a slasher movie. Really one of my main questions though is why some terrible Creed song was included; perhaps the filmmakers were told by the studio that the soundtrack had to be marketable, or something.

Oh and the final act is fairly suspenseful and tense, with the last scene being rather surprising but not completely unexpected. The fact that there was another sequel after this one speaks volumes to the studio and the producers being greedy and dumb. Anyone who has seen this one knows that H20 was a good, solid conclusion to the Halloween franchise, and as far as number seven movies goes is also pretty good, too, although granted only long running film series have that many and usually have more than that. Well at least Rob Zombie's two Halloween movies erased the memory of the 8th Halloween, which I'm sure I'll view partly as a glutton for punishment, but also for the sake of bashing it, too.

Here Kitty Kitty Kitty...

2011-10-15T20:39:00.004-05:00

Stoked by the powers of erotic desire and sexual curiosity brought on by a lack of experience, a young woman in her 20s is haunted by dark dreams. They are not nightmares, though-instead they are flashbacks to an earlier time and they reveal an ancient prophecy, clouded in mystery, yet eventually revealed. It is a destiny where one reverts literally to a primitive animal state that is also quite violent, where people turn into large leopards, hungry for blood.

This is the eerie nature of Cat People, a 1982 film that was a very loose remake of the 1942 classic by the same name. Unlike the original, this version is more clear and explicit, however in being relatively unsubtle its just as intriguing as the original was. Due to the Hollywood censorship codes the 1942 version was only able to suggest and or hint at its strong sexual overtones without showing anything on screen. Really all that the remake and the original have in common is that the 1982 version has a fantastic homage to the famous pool scene from the 1942 one, and that sex or the idea of sex awakens the animal within. Its interesting that 1982 saw two successful remakes of previous horror classics, as John Carpenter also remade The Thing that same year.

Through Malcolm McDowell's very sinister and creepy murderous character Paul, and Nastassja Kinski's Irena, his repressed and delicate sister, the film tackles the nature of sex and how it can even be used as a weapon. John Heard falls prey not only to Irena, but also becomes obsessed with her, at first finding her to be rather delicate and then later alluring and even dangerous. There are some elements of body horror here, but the film does not really dive into those and they are not important overall.

Naturally as in most horror movies of this type the problematic issue of loving someone who is either becoming a monster or is already a monster comes to a head. This film's situation has a rather unexpected and even shocking conclusion, one that I did not see coming. Filmed in a gorgeous visual style (orange is used quite a bit, here, as is red), and sporting a great score anchored by David Bowie's brilliant "Cat People (Putting Out The Fire)," which only further articulates the film's themes, Cat People is a worthy remake and a great addition to 80s horror, which is at times grossly underrated by the genre's fans.

Urban Legends and Rutger Hauer

2011-10-15T20:25:00.002-05:00

As empty as the vast, expansive desert landscape, and bleaker than a starless sky, this movie thrives on nihilism. Into a young man's life a loner psychopath arrives, slaughtering everyone in his path, thus baptizing the young lad in blood and violence. Rutger Hauer's character is no ordinary man, for he appears whenever he needs to, operating as her were the boogieman or even the Devil himself. The poor young male is trapped in an endless nightmare, and through all of this he is given a twisted lesson, one he will never forget.

Utilizing the gorgeous and wide open spaces of the American Southwest, The Hitcher is a nasty, brutal film that never backs down or really lets up, save for a couple of moments. Rutger Hauer is mostly silent, and thus by only saying very little and letting his facial actions take center stage, he never stops being menacing or utterly frightening. He is a true sight to behold, and just looking into that strong gaze and those piercing eyes is enough to put the fear of God into any person. C. Thomas Howell plays his hapless victim very well, giving the audience someone to sympathize with-he is a likable everyman, caught between the police, who think he's guilty, and this maniac who never ceases to chase him. Jennifer Jason Leigh has the misfortune to be the woman who later accompanies Howell's character, a waitress who ends up being merely a pawn in a game being played between two men locked into a never ending struggle.

With a rather great use of color, particularly at the end with that haunting and stunning final shot, The Hitcher is rather well made. The fact that it never strays from its dark vision, or really cuts corners, makes it a primary example of good, solid film making, committed to achieving an end that is rather disturbing. Even nightmare fables deserve attention, serving as warnings for us all; this one empathizes one clear fact: never pick up a hitchhiker. Especially a guy who looks anything remotely like Rutger Hauer.

Metors, Zombies, and Aliens Ohy My

2011-10-15T19:53:00.003-05:00

One of Roger Ebert's criticisms of Day of the Dead (1985) was that the film's characters yell and shout too much, that what they are screaming about adds nothing to the movie. This false description of Day of the Dead's characters (okay, more wrong than false-its just his opinion) can actually be applied to the survivors featured in Undead (2003). Really this movie tries too hard to channel the Peter Jackson films Bad Taste and Dead/Alive, and it fails in that regard. I was entertained, sure, as some of the humor involved does work, yet the overall product is rather disappointing.

Which is a shame, as the film itself looks great and has good FX considering its relatively low budget. The zombies are not particularly interesting or remarkable, however, although there are good zombie movies where that is also the case. Yet the characters-the main strength of any zombie movie-really are nothing more than dull caricatures who substitute over acting and being outlandish for likability, which means the audience doesn't really care about them.

There is something to be said about the movie's weird, unexpected final act that represents a odd yet interesting tonal shift. It does leave some room for a sequel, although I'd rather not see one, even if there's a slime possibility it could be good. There is also something to be said about watching a conspiracy crazed fisherman who magically becomes a gunman out of a John Woo movie overnight, I suppose.

This Isn't a Pretty Place Where The Flowers Grow

2011-10-07T13:38:00.010-05:00

Merely three years after The Texas Chainsaw Massacre and five years after The Last House On The Left, Wes Craven covered revenge again-this time using in bread cannibals instead of a group of escaped murders. A family makes the mistake of breaking down nearby an army base in the desert, and gets attacked by those lurking in the surrounding countryside.

Earlier Wes Craven was more brutal and nihilistic in his work than in his 80s and 90s films, and this movie is no exception. The family is forced to resort to crude and primitive methods to defeat the cannibals, while suffering greatly as a result. Although Craven does utilize the harsh landscape, he fails to fully explore its possibilities-perhaps due to lack of funding.

Still, this is a well made and disturbing movie, a look into a real "State of Nature" where one group wars against another group. Unapologetic in its display of extreme violence, once more Craven adds another good movie to his record. Even though when it comes to his films The Last House On The Left is a much better film, one that more properly covers the negative effects of violence on the American family.

Alien Slugs Burrowing Into Your Brain

2011-10-07T13:28:00.003-05:00

Taking proper direction from such cult films as Shivers and Night of the Creeps, James Gunn creates his own great, yet disgusting, horror film. Alien slugs land, and proceed to take over a small town, in, well, that's not important. This film takes the concept of body horror to new heights, as those taken over become ugly, gross mutated creatures hungry for "Meat." One should really avoid eating while watching this movie.

Forced to deal with the situation is a hapless yet likable local sheriff, the town's profanity spewing mayor, and the wife of one of the infected, a man who just happens to be the main carrier for the outbreak. Her commitment to "Till Death Do Us Part" gets insanely tested in this movie. As nasty as it is, Slither has plenty of comedic and humorous moments. The outlandish and creepy parts often provide set up for really funny scenes, and most of the main characters bumble their way into dangerous situations.

Really though the mayor, played by Gregg Henry, has many of the movie's best one-liners, such as "That bitch is hardcore" and his complaining monologue about no Mr. Pibb being just another bad thing in a day filled with really bad things happening. Naturally the film has a crazy ending, too, and even features a scene where the sheriff has to fight an undead infected deer.

Don't forget to watch after the credits, and remember to look to the skies. Be it in fear, terror, or even wonder if you like. And of course I'll be joining the countless others in hoping for a sequel.

Living Forever is Grossly Overrated

2011-09-22T04:00:00.005-05:00

There's something interesting about the fact that the original Nosferatu (1922) came about because its creators could not get the rights to Dracula, and thus gave birth to their own unique and creepy take on Stoker's classic tale. As a result, ever since there many vampire movies have chosen to even further deviate from the original standard vampire cliches, and the best ones have done this rather successfully. Cronos (1993), a modern update of the vampire lore, is one such movie, and Del Toro does a fantastic job of making a believable movie that is not just a horror movie.

Early on the movie is largely setup, but with a very large payoff. Without properly establishing Jesus' tender relationship with his granddaughter, or giving us strong hints into how much Angel despises his uncle, what happens later in the film would have no emotional strength to give it character or strengthen the overall movie. Even though the beginning narration feels oddly lifted from some PBS documentary about the dangers of trying to live forever. "You see, this fellow here decided to create a very special device...."

How the rest of the movie plays out is very interesting, as Del Toro slowly but surely builds and continues to layer the foundation, making Jesus' plight into something even more sinister and eerie. Even though certain elements of this movie are not at all horror, the film itself belongs to the genre based on the fact that its not only creepy mostly throughout, but also the obvious: Jesus becomes midway through the movie a vampire. Not your typical vampire, of course, yet nevertheless a creature of the night seeking blood.

This is mostly articulate through several moments, primarily when Jesus in a moment of weakness actually licks blood off of the bathroom floor. The rational response would be for one to react in horror; however since Jesus is a rather sympathetic character, one feels pity for his condition instead. Cronos is fascinating not just in how the movie plays out, with Angel's rage and anger going against him, but also for moments of real tenderness and love as displayed towards Jesus by his granddaughter, Auroa. Who even though she quickly recognizes that the device has transformed her once loving grandfather into an ancient monster, does not judge but continues to care for him, which comes off as surprising and touching.

Honestly this is one of those few horror movies where the ending manages to be unexpected, not to mention open ended, without resorting to tricks, jump scares, or being overly depressing. Which is really quite refreshing for a change, as is the movie's overall tone and style. Powered also by a rather understated and beautiful score, and complimented by its rather good cast, this is an outstanding addition to the vampire sub-genre of horror movies.

Small Town, Big Secrets

2011-09-20T14:31:00.004-05:00

1981 really was a banner year for horror movies, primarily when it came to werewolves: An American Werewolf in London, Wolfen, and The Howling. From the writers of Alien, Dan O' Bannon and Ronald Shusett, and the director of Raw Meat, Gary Sherman, came a lesser known and somewhat underrated flick called Dead & Buried. Just like Raw Meat and Strange Behavior, this film was quite different from much of the horror fare that was more commonly found in the genre at the time.

In fact, much of this movie has the feel of a lost 80s Twilight Zone episode, or a short story from some famous horror novelist. The small town of Potters Bluff, nestled in New England has some rather dark secrets. Primarily the fact that the residents kill off anyone who has the misfortune to stop by in the town, or just be passing through. Unlike some other films, this movie gets right to the point with that fact: the opening scene quickly descends into a crowd of locals burning a hapless victim alive.

Despite some clearly obvious cliches, Sherman and O' Bannon aim for a distinctive atmosphere that actually works. The characters themselves aren't too well drawn out, but the local town corner and the in over his head sheriff are rather interesting people, and they help drive the film's plot. Most of the kills are rather shocking due to the rather simple fact that ordinary people ganging up on you and murdering you with a smile and not even thinking twice is something straight out of many nightmares.

Naturally a film like this has to have some rather stark twists, and this one does not disappoint. Even though Dead & Buried has a couple of rather large plot holes, and the movie at times is sketchy, the twists and the movie's being overall solid is enough to overcome those. And all things considered, this was really just a dry run for O' Bannon's 1985 cult classic Return of the Living Dead.

Pretty Pictures Full of Blood

2011-09-12T13:45:00.008-05:00

When it comes to the giallo subgenre of horror, you get slasher movies that are more unique, twisted, and imaginative than the average "Lovely woman gets chased by machete wielding psychopath." Dario Argento was one of the genre's giants, creating many memorable and well crafted giallos.

Deep Red, his 1975 film, is one of his more famous creations, although not as well known as Suspiria, which came out only two years later. This movie has a lot in common with Argento's fellow Italian director Mario Bava, who also made a couple of giallos as well and is just as renowned, particularly concerning his cult classics Blood and Black Lace and The Girl Who Knew Too Much.

Just like his other giallos, Argento has a brilliant score that only adds to the film's atmosphere and is remarkable. In this case, it is done by Goblin, who also created the eerie score for Suspiria, and was also responsible for the score to George A. Romero's masterwork Dawn of the Dead. Argento of course must have a hapless protagonist, be it male or female-in this case, it is Marcus, played by David Hemmings.

Marcus is a lonely jazz pianist who lives in Rome, has an alcoholic buddy, and lives a rather solitary life. It is unfortunate for him that, on a dark and bleak night, that he stumbles into a murder mystery, and also ends up having to deal with a nosy and chatty journalist.

Rather than hop the next plane to America, he decides to stay instead and investigate, which of course has to happen-otherwise the movie wouldn't continue. This is one particular case of the protagonist defying reason, something that happens a lot in not only giallos but also slasher films, too. This is particularly showcased later when Marcus decides to explore a crumbling mansion late at night, all by himself. Luckily for him he's the main character, so nothing really too serious is going to happen to, him. At least for most of the movie, anyways, despite another close call that makes the viewer wonder if Marcus is smart enough to survive.

Not content to merely make a good movie, Argento once again aims for a distinct visual style, although this movie isn't half as gorgeous as Suspiria. These visual flourishes though only add more to the movie's strong levels of tension and suspense, which are added even more by Argento's willingness to go beyond the pale. Many of the movie's rather disturbing scenes are merely Argento diving into fears he was sure plenty of people held at the time, and thus this makes the death scenes all the more horrifying.

Of course it also wouldn't be an Argento movie without a last act that is both shocking, although in this case I would say that this film, for now, features arguably his best and most brazen ending. With Deep Red, Argento crafts one of his best films, and continued to build upon his reputation in the 1970s as one of the top horror auteur.

This is slightly better than Suspiria and The Bird With the Crystal Plumage, and defiantly superior to Inferno, partly due to Hemmings' brilliant and understated performance, but also due to being a bit better made. The characters in this one are less sketchy than the other films, and really Argento goes the extra mile here, which is decidedly noticeable.

The 1950s Are Alive With the Sound of Screaming

2011-08-30T16:11:00.006-05:00

Really its a shame that "Popcorn" came out at the tail end of the slasher genre craze, considering that its smarter and savvier than some of its lesser competition. The changing of directors midway through shooting, and switching actresses as well, apparently lead to this movie going from having a supernatural feel and being really out there, to instead being turned into your seeimgly typical "Killer on the loose" film with some certain twists involved. Also I have to note that "Possesor" certainly makes for one twisted and bizarre short film, although these days it would pass for a not weird enough music video, certainly outdone by say, something from Nine Inch Nails.

Despite the fact that this movie is engaging and entertaining, there's really not much to write home about. The film isn't particularly deep or truly interesting in that regard, even if its better made than say, some of the latter Jason or Michael Myers movies. There's our hapless heroine, plagued by terrifying and mysterious dreams that do not make any sense. The rest of the cast is filled out by college students, led by a teacher who's your typical college professor sleeping with one of his students. What makes this movie a cut above the average masked killer movie is really its setting, which is an abandoned movie theater cleaned back up to host a scary movie festival.

Another movie released two years after this one, Joe Dante's "Matinee," probably pays better homage to the campy 50s and 60s horror movies that "Popcorn" so lovingly displays and mocks to a certain degree. I admit not having seen that movie, so I cannot say for certain, aside from judging based on Dante's previous body of work. Still, "Popcorn" is certainly not without its charms, and certain elements were clearly taken and used by Wes Craven later on in "Scream 2," which is a more clever and better movie than this one.

What's That Buzzing Sound?

2011-08-29T15:44:00.006-05:00

At this point, I've seen a decent amount of David Cronenberg's work, so I have a fair grasp of many of his themes and ideas. Despite not having yet dived into his 90s and most of his 2000s movies, I still have viewed a lot of his 70s and 80s films, ones that dealt with body mutilation, mutation, sex, and featured lots of gore and disgusting moments. His remake of the 1958 sci-fi picture "The Fly" is no exception, only there's something more at work here. Aside from a plot that was inspired by Kafka, to a certain degree.

This is why Cronenberg's horror movies are a cut above typical horror movie fare-he operates within a certain perimeter of ideas, never wavering from his vision no matter how disturbing that vision may end up being. Jeff Goldblum's Brudle is a scientist playing God with powers he does not even understand, and in the process this completely backfires on him.

Clearly Cronenberg is covering disease and its nasty effects upon the human body, and one could even make a case that this movie is partly about the AIDS epidemic that by 1986 was ravaging America. Even though by the third act his body is falling apart, his girlfriend Veronica refuses to abandon him, perhaps out of love, but also out of guilt of some kind. In some ways I'm reminded of Scanners, where a man clearly not entirely human still is able to stay with a normal, regular human being.

Several scenes in this movie are key, especially a dream sequence that is beyond terrifying, and a last act that clearly shows the mad scientist being turned into a full blown monster. A man going from creator to creation is something that Cronenberg has done before, primarily in Videodrome, and it works even better here. Although he has made several other movies that are better than this one, his remake brashly takes an older version and gives it a modern update that's nastier, more brutal, and more shocking. I am aware there is a sequel, but I doubt without Cronenberg's daft touch or Goldblum and Davis's honest, raw performances its even half as good.

Horrorfest 2011

2011-08-25T03:00:00.047-05:00

Every year since 2008, I've tried to watch a bunch of horror movies from August to early November. This year will be no different, although considering that I'm starting to run out of the more famous and major horror movies, as the years go on the lists will probably feature more modern and lesser known films.

Total Viewed: 25 films

First Six List: (out of 100, or ****)

Die Monster, Die! (1965)-62, **
The Fly (1986)-95, *** 1/2
Night of the Ghouls (1959)-21, * 1/2
Popcorn (1991)-75, ***/** 1/2
Deep Red (1975)-92, *** 1/2
Dead and Buried (1981)-82, ***

Average Rating: 71, or ** 1/2

Next Up:

Cronos (1993)-93, *** 1/2
The Masque of the Red Death (1964)
The Shiver of the Vampires (1971)-74, ** 1/2 or ***

Family Video Rentals:

*Dawn of the Dead (2004)-90, *** or *** 1/2
*Cat People (1982)-90, ***
*A Nightmare on Elm Street 4: The Dream Master (1988)-75, ** 1/2 or ***
*Halloween H20 (1998)-80, ***
*The Hitcher (1986)-85, ***
*The Hills Have Eyes (1977)-80, ***
*Innocent Blood (1992)-81, ***
*Slither (2006)-94, *** 1/2
*Pulse (2001)-88, ***
*Undead (2003)-64, ** 1/2 or **

Average Rating: 82, or ***

DVR:

*The Gorgon (1964)-71, ** 1/2
*Dementia 13 (1964)-80, ***
*The Devil's Bride (1968)-84, ***
*The Changeling (1979)-95, *** 1/2
*Christine (1983)-85, ***
*Ginger Snaps (2000)-95, *** 1/2

Average Rating: 85, or ***

Meh, Monster, Meh!

2011-08-25T02:53:00.003-05:00

Many movies have been inspired by, and based off of, H.P. Lovecraft's many stories that he wrote back in the early 1900s. Die Monster, Die! (!965) is one of those, based on Lovecraft's tale called The Colour In Space, which I will admit I've never read. Still that story has to be more engaging and entertaining than this picture, which doesn't do Lovecraft any kind of justice.

Despite containing many gorgeous visuals, the movie comes off as more of a House of Usher ripoff than anything in the Lovecraft mythology. If maybe the story it is based off of is very similar to the movie, knowing something of Lovecraft I bet that his story has heavy atmosphere, is quite creepy, and works very well. Sometimes certain ideas and stories don't translate well from the printed word to the silver screen, and this is certainly one of those cases.

Which is too bad, because some scenes work really well, Boris Karloff gives it his usual all, and the last act is quite bizarre. Too bad that what comes before it is a relatively uninteresting movie that could have stood to use more creepiness. Certainly this movie is sadly a dud, and a rather forgettable one at that.

Someone's Listening In: The Phone Hacking Scandal

2011-07-22T01:18:00.009-05:00

Despite everything that's going on in the world today, really my current attention is aimed at the hacking scandal, which has already cost people jobs, money, and continues to be really horrible in that a dead girl's phone was hacked, while remaining completely engaging. This is playing out more in the vein of a political thriller than your average news related scandal, especially with a journalist who was a whistle blower on this dying and then it being ruled not suspicious. Give me a break. Next they will be trying to tell me there were actually WMDs in Iraq.

What's truly even more fascinating is how this entire mess is really a commentary on the dangers of the media and government becoming too buddy buddy with one another. Not to mention involving the police, as two top cops have already resigned as well. Sure its really fun to watch NewsCorp and Fox News squirm, yet I would rather see some type of actual justice and true punishments melted out. For me its not enough that one of the biggest companies in the world has lost tons of money, or that Rupert Murdoch's troubling attempts to further conquer the British media market have been scuttled, hopefully for good.

Oh yes, he did apologize to the girl's family, however even when hauled before a committee he refused to sound anything other than shallowly trite. If anything he's more sorry a branch of his media empire got busted for violating the law and ethical standards of journalism. After this whole mess, which is continuing to be investigated, gets sorted out, perhaps people will step back and realize that their particular brands of outrageous, self-serving, and rule breaking and bending ways of trying to get to "THE TRUTH" isn't worth the overall cost of selling out one's soul for a better scoop. This goes for America media especially, particularly cable news and those awful lame tabloid newspapers and TMZ.

That said, I'm not holding my breath that anyone who engages in gross ethical and even law breaking violations will stop as a result of this scandal. They will just try harder not to get caught, and that's not surprising. In that regard, perhaps the lack of institutional controls at many of these organizations that stains the good name of journalism is as much a problem as is the media being in bed with too many corporate entities that often lead to stories being restricted or not even reported. One can only hope that the public continues to back the ones that do a fairly decent job of being honest, and reject those that peddle dumb entertainment as news.

Sanity is Just a State of Mind (House, 1986)

2011-05-09T14:01:00.006-05:00

When I was in high school, a buddy of mine and I actually watched this movie way too many times. Not only is it really weird, but the film has odd flashbacks that keep popping up throughout and are not fully explained until later on in the movie. All I know is that a Vietnam vet who writes freaky novels decides to move into his aunt's house after she decides to hang herself. How nice of him to take over the place despite the fact that it drove his last remaining relative utterly insane. This is usually how horror movies, especially ones about haunted/possessed houses, often start, so I let that aspect slide.

However, the movie itself doesn't sustain enough tension, and even though there are really creepy moments, they are often negatively impacted by the movie's way too campy/cheesy tone. This hurts the movie, along with the fact that some aspects are obviously borrowed from other movies. Funny enough though when the main character, Roger, is attacked by inanimate objects, that bit reminds me of Evil Dead II: Dead by Dawn, even though that movie came out a year later.

The difference between the two is that Evil Dead II actually succeeds in giving off a creepy/hilarious vibe with such a technique, where as in House its too random and isn't anything other than eye rolling. I guess its all how you film certain material, and if the director is smart enough to properly set up his more outlandish and frightening scenes.

Oh there are some really hilarious moments, such as when Roger kills and cuts up a monster, and then the soundtrack decides to play oldies tracks that only make the scenes more disturbing, which I suppose means that bit works. George Wendt from Cheers at some point helps out Roger by making sure he doesn't go to jail, and only exists for clear comedic relief. So the movie veers from comedy to horror, not smart enough to do either incredibly well, although at times it does succeed at being creepy.

My favorite scene has to be some demonic winged monster grabbing Roger's shotgun, turning it on him, and shooting the rope holding him up, causing him to fall into a pit below. Such a moment is too random to mean anything, but it made me laugh a lot, which perhaps was really its intended goal. Or the director actually thought something like that would scare audiences.

Unlike some of the rather stupid 80s slasher movies, though, this film does have a certain degree of campy charm that stamps its status as a B-movie cult film. What's really disappointing is that the movie should have stuck with Roger just going completely insane. In the hands of a better director, the film would have been something like Legend of Hell House, or The Haunting, far better films that are not only creepy, but are really more effective. Too bad, because I wish I could actively champion this movie as being an gem from my birth year, instead of merely enjoying it for being a limited, weak, but entertaining little movie. 68

Cannibalistic Underground British Tunnel Dwellers

2011-05-02T20:37:00.002-05:00

Considering that both are considered cult classics, its really no surprise that a couple weeks back TCM showed Strange Behavior and Raw Meat back to back. Thanks to Rowland I heard of both, and I think both get the same rating. Now Raw Meat has some rather obvious allegorical references, and the movie could have gone a bit further with some of its political/social commentary. At the same time, that would detract from the fact that its a fairly solid, creepy film that smartly utilizes violence and gore that results in the audience getting moments that are rather shocking, and thus have an effect on the viewer.

Elements of the main cannibal's behavior almost reminded me of Texas Chainsaw Massacre, and thus I wonder if Tobe Hooper wasn't a bit influenced by this movie. Only one jump scare is even used, which is a good thing, especially since that moment actually freaked me out quite a bit. I loved how many scenes were not underscored by music, as the tunnels are rather creepy. The drip drip sounds and the echoing footsteps would be enough to drive anyone down there crazy, and I'm glad there isn't anything to ruin such moments.

Having also recently seen Let Sleeping Corpses Lie, with its keystone cops, I have to wonder if it was in fact 70s horror that established the eventual cliche of "The police are powerless to deal or handle some incredible evil they've never seen before." Donald Pleasance, who sadly later became type casted, gives his character a funny and grumpy persona that has a rather oddly calm manner, considering that he's dealing with a murderous underground dweller running amok. I'm not even sure why Christopher Lee is in this movie, as he only has one scene and doesn't even do much. Perhaps he was on contract for the studio, which was common in those days with many famous horror movie actors.

Despite some of its notable faults (I think the film could have been a bit scarier, and they could have pushed the envelope more), this is one is a hidden gem. I'm glad that Netflix had it on Instant Viewing, as the transfer looked good (although on full screen it was a bit blurry), and this movie is another reason to love 70s horror. Its a unique gem, original and worthy of note, and another reason why 70s horror is the best: the 80s would have turned this into a dumb slasher movie, and the 60s wouldn't have gone far enough. 82

Bull Durham (1988, Ron Shelton)

2011-04-26T14:24:00.002-05:00

I'll admit that I've always had a soft spot for sports movies. They are usually entertaining despite having typical sports style cliches, and many times they are similar, but I keep tuning in anyways. However, the good and great ones are more about the characters, why they play the game, and about how sports can so easily be connected to life and the mysteries of the universe. At least that's how Ron Shelton's baseball movie classic Bull Durham looks at America's past time. This a comedy that also features some well created drama, especially towards the end, and has well rounded, likable characters and some of the most well written dialogue I've seen in well, any movie, period.

The great cast does indeed help, as it features Tim Robbins, Susan Sarandon and Kevin Costner in an interesting love triangle. Most of the film's laughs come from amazing monologues, such as Costner's ad libbed "I believe in...." speech that brought a smile to my face, or Sarandon's Annie's voice over stating one of her unique and straightfoward quotations and opinions about life, the game, and everything else. I'm sure that Robbins' Nuke reminds some of us of certain guys who have played the game in the past, or who are in the Major Leagues now, and even though Costner was actually not much older than Robbins he embodies the world wary, ancient feeling Crash Davis particularly well.

What's also remarkable about this movie is how Shelton brings out the humor in your seemingly average, typical baseball scenes. One of my favorite moments is when Crash, Nuke, and practically the entire team is at the mound, and Crash tells the assistant manager everything going on, closing with "We are dealing with a lot of shit." Sure there are some outrageous moments, but they only add to the film, not detract from it. And hey you can't go wrong with a film that has a last act that, even though it may feel out of place in a film as silly at times as this one, is really quite moving. That last scene is rather simple, yet profound, and I wouldn't have Shelton end things any other way.

To me, Field of Dreams is still the better movie, but I think over time this one may surpass it. For now I'd say that Costner's best role is in Open Range, but Crash and his funny, charasmatic and awesome role as Roy in Shelton's Tin Cup stand as my personal favorites. I'm just glad that they never made a sequel, although you could almost consider the also rather funny but lesser Major League, which came out a year later, as this movie's big league counterpart. 95

Most Anticipated 2011

2011-04-19T16:12:00.008-05:00

I finally decided to go through IMDB.com to form some kind of terrible list (and not on it are Rango, Drive Angry, or Scream 4, as I've seen Scream 4, and the others I will probably rent when they come out on DVD).

1. Tree of Life-95
2. Super 8-95
3. Drive-95
4. X-Men: First Class-90
5. Everything Must Go-91
6. Super
7. Hobo With a Shotgun-83
8. Rubber-85
9. Stake Land
10. Hesher-93
11. Cat Run
12. Henry's Crime
13. Pirates of the Caribbean: On Stranger Tides
14. The Hangover Part II-77
15. Cowboys & Aliens-79
16. Fright Night
17. The Rum Diary
18. Hugo
19. Sherlock Holmes: A Game of Shadows-90
20. Mission: Impossible - Ghost Protocol

Never Piss Off a Satanic Cult

2011-04-13T02:05:00.003-05:00

I actually wish this had been my first Jacques Tourneur film and not Out of the Past. Don't get me wrong, his 1947 film is a great hard boiled film noir classic, setting standards for the genre. It’s just that Jacques Tourneur was really a horror director. An auteur so to speak, working with the same producer, Val Lewton, for a number of films. I haven't seen all of them though but I eventually plan to, as from what I've seen the man knows how to make a good picture. Despite his budget restraints and the fact that he made movies in the 1940s when the industry was just entering middle age, the guy pulled off some worthy and even creepy films that have since been regarded as worthy additions to not only the horror genre but also cinema.

Anyways, Curse of the Demon is for the most part an excellent example of how Tourneur suggested horrible things without really showing them. Yes the demon does make an appearance, but this wasn't actually part of his plan and the creature isn't really featured hardly at all. This only makes it fiercer, strange, and gives it an awesome and eerie menacing quality. I love how its looks exactly like a soldier of the Devil would appear like, and it has a grand entrance that is both freaky and cool despite the obviously dated special effects.

The protagonist, played by Dana Andrews, simply fills the role of the skeptical man of knowledge who finally realizes too late that guess what: the supernatural, the ancient evil that lurks beneath the world of science and understanding will get you. And rip you're face off before chewing on your soul and then picking you're remains out of your teeth using another hapless victim. And naturally there's a devil worshipper who controls this foul creature with a method that seems both sensible and silly all at the same time.

For the most part one can take this film both seriously while also regarding it as a rather silly yet entertaining movie. The demon is pretty badass, and the use of shadows and music only add to the film's already creepy and somewhat surreal quality. For this and more, Tourneur is to be admired, to be inspire and be copied by other horror directors, as he is the shining standard of "Less is more." That doesn't always work in every horror movie, but the creators of some rather modern and recent bombastic, typically wretched horror films could learn something from the man. Grade: 81

Top 10s: 1990-2010

2011-03-08T02:13:00.009-06:00

These are subject to change after more numerous viewings:

1990:

1. Goodfellas-****
2. Miller's Crossing (1990)-*** 1/2
3. Total Recall-*** 1/2
4. Wild At Heart-*** 1/2
5. Dances With Wolves-*** 1/2
6. The Hunt For Red October-*** 1/2
7. Arachnophobia-***
8. The Rescuers Down Under-***
9. Tremors-***
10. Gremlins 2: The New Batch-***

1991:

1. JFK-****
2. Terminator 2: Judgement Day-****
3. Boyz N the Hood-*** 1/2
4. The Silence of the Lambs-*** 1/2
5. The Fisher King-*** 1/2
6. Homicide-***
7. Star Trek VI: The Undiscovered Country-***
8. City Slickers-***
9. Dead Again-***
10. Rosencrantz & Guildenstern Are Dead-***

1992:

1. Unforgiven-****
2. Dead Alive-****
3. Bob Roberts-****
4. Porco Rosso-*** 1/2
5. Sneakers-*** 1/2
6. Hard Boiled-*** 1/2
7. Reservoir Dogs-***
8. Hero-***
9. The Last of the Mohicans-***
10. Wayne's World-***

1993:

1. Wallace and Gromit in The Wrong Trousers-****
2. Dazed and Confused-****
3. Groundhog Day-*** 1/2
4. Jurassic Park-*** 1/2
5. The Fugitive-*** 1/2
6. Cronos-*** 1/2
7. Menace II Society-*** 1/2
8. Army of Darkness-***
9. True Romance-***
10. The Sandlot-***

1994:

1. Pulp Fiction-****
2. Ed Wood-****
3. Hoop Dreams-****
4. Forrest Gump-****
5. The Shawshank Redemption-*** 1/2
6. Chungking Express-*** 1/2
7. The Lion King-*** 1/2
8. Leon: The Professional-*** 1/2
9. To Live-*** 1/2
10. Speed-*** 1/2

1995:

1. Seven-****
2. The Usual Suspects-****
3. Casino-****
4. Dead Man-*** 1/2
5. Toy Story-*** 1/2
6. Apollo 13-*** 1/2
7. Babe-*** 1/2
8. Goldeneye-*** 1/2
9. In The Mouth of Madness-*** 1/2
10. Wallace and Gromit in a Close Shave-***

1996:

1. Fargo-****
2. Lone Star-*** 1/2
3. Trainspotting-*** 1/2
4. Sling Blade-*** 1/2
5. Tin Cup-***
6. Mystery Science Theater 3000: The Movie-***
7. Scream-***
8. The People vs. Larry Flynt-***
9. Bottle Rocket-***
10. The Crucible-***

1997:

1. Lost Highway-****
2. L.A. Confidential-****
3. Geri's Game-****
4. Donnie Brasco-****
5. Jackie Brown-*** 1/2
6. Good Will Hunting-*** 1/2
7. As Good As It Gets-***
8. 12 Angry Men-***
9. The Fifth Element-***
10. Grosse Point Blank-***

1998:

1. Rushmore-****
2. The Big Lebowski-****
3. The Truman Show-****
4. Saving Private Ryan-****
5. Fear and Loathing in Las Vegas-*** 1/2
6. He Got Game-*** 1/2
7. Bulworth-*** 1/2
8. Pi-***
9. Enemy of the State-***
10. Zero Effect-***

1999:

1. The Limey-****
2. Fight Club-****
3. Toy Story 2-*** 1/2
4. Three Kings-*** 1/2
5. Galaxy Quest-*** 1/2
6. South Park: Bigger, Longer, and Uncut-*** 1/2
7. The Sixth Sense-*** 1/2
8. Office Space-*** 1/2
9. Ghost Dog: The Way of the Samurai-***
10. Sleepy Hollow-***

2000:

1. The Exorcist: The Version You've Never Seen-****
2. In The Mood For Love-****
3. George Washington-****
4. Unbreakable-****
5. Crouching Tiger, Hidden Dragon-*** 1/2
6. For the Birds-*** 1/2
7. American Psycho-*** 1/2
8. Battle Royale-***
9. Chicken Run-***
10. Snatch-***

2001:

1. Mulholland Drive-****
2. Memento-****
3. Amelie-****
4. The Royal Tenenbaums-****
5. Apocalypse Now Redux-****
6. Band of Brothers-****
7. The Lord of the Rings: The Fellowship of the Ring-*** 1/2
8. 61*-*** 1/2
9. Pulse (Kairo)-***
10. Series 7: The Contenders-***

2002:

1. Adaption-****
2. Spirited Away-****
3. Narc-****
4. 28 Days Later-*** 1/2
5. Gangs of New York-*** 1/2
6. A Season On The Brink-*** 1/2
7. Road to Perdition-*** 1/2
8. Dog Soldiers-***
9. About Schmidt-***
10. Bubba Ho-Tep-***

2003:

1. The Lord of the Rings: The Return of the King-****
2. Finding Nemo-*** 1/2
3. All The Real Girls-*** 1/2
4. Master and Commander: The Far Side of the World-*** 1/2
5. The Triplets of Belleville-***
6. Bad Santa-***
7. Badasssss!-***
8. Pirates of the Caribbean: The Curse of the Black Pearl-***
9. School of Rock-***
10. Confidence-***

2004:

1. Eternal Sunshine of the Spotless Mind-****
2. The Life Aquatic-****
3. I Heart Huckabees-****
4. Hotel Rwanda-*** 1/2
5. Collateral-*** 1/2
6. Kill Bill Vol. 2-*** 1/2
7. Shaun of the Dead-*** 1/2
8. Friday Night Lights-*** 1/2
9. Primer-*** 1/2
10. Spartan-*** 1/2

2005:

1. The Proposition-****
2. A History of Violence-****
3. Wallace and Gromit: The Curse of the WereRabbit-****
4. Brick-*** 1/2
5. Kiss Kiss, Bang Bang-*** 1/2
6. Star Wars Episode III: Revenge of the Sith-*** 1/2
7. Batman Begins-***
8. The Call of Cthulhu-***
9. Dave Chappelle's Block Party-***
10. Enron: The Smartest Guys in the Room-***

2006:

1. Children of Men-****
2. A Scanner Darkly-****
3. The Departed-****
4. This is England-*** 1/2
5. Slither-*** 1/2
6. Casino Royal-*** 1/2
7. Borat-***
8. The Host-***
9. V For Vendetta-***
10. Stranger Than Fiction-***

2007:

1. Gone Baby Gone-****
2. No Country for Old Men-****
3. Hot Fuzz-****
4. Sicko-****
5. Perspolis-*** 1/2
6. The Assassination of Jesse James by the Coward Robert Ford-*** 1/2
7. The Simpsons Movie-*** 1/2
8. Ratatouille-*** 1/2
9. Control-*** 1/2
10. Superbad-***

2008:

1. The Wrestler-****
2. The Dark Knight-****
3. Burn After Reading-*** 1/2
4. Frost/Nixon-*** 1/2
5. Tropic Thunder-*** 1/2
6. The Curious Case of Benjamin Button-*** 1/2
7. Wallace and Gromit in a Matter of Loaf and Death-*** 1/2
8. Terribly Happy (Frygtelig lykkelig)-*** 1/2
9. Gran Torino-***
10. Waltz With Bashir-***

2009:

1. A Serious Man-****
2. In The Loop-****
3. (500) Days of Summer-****
4. Antichrist-****
5. Up-****
6. Inglourious Basterds-*** 1/2
7. Bad Lieutenant: Port of Call New Orleans-*** 1/2
8. The Hurt Locker-*** 1/2
9. District 9-*** 1/2
10. Up In The Air-*** 1/2

2010:

1. The Social Network-****
2. Inception-*** 1/2
3. Black Swan-*** 1/2
4. The Fighter-*** 1/2
5. Winter's Bone-*** 1/2
6. Hesher-*** 1/2
7. Scott Pilgrim vs. the World-*** 1/2
8. Kick-Ass-***
9. Shutter Island-***
10. How To Train Your Dragon-***

Last Year at Marienbad (1961, Alain Resnais)

2010-12-02T21:24:00.008-06:00

Not every movie has to make sense, or be an obvious traditional narrative. This French New Wave classic gets away with being rather mysterious and confusing, since that's the whole point. Existing as a dream, or a bizarre nightmare, you have two people struggling with their own memories, and haunted by past events that may or may not have happened. Shot in glorious black and white, with expert cinematography, it is a depiction of a house forgotten by time, yet populated with people when the scene or moment apparently calls for it.

The rather creepy and weird score only underlines scenes that can be best described as pieces of a mythical puzzle-one that is less Rubik's cube, but instead a twisted 10,000 pieces from a box puzzle that takes forever to finish. Part of the film's allure is that there are no easy answers, no attempts at understanding what is really going on. Just as dreams and past fragments of memory, having drifted away and become obscured, end up lacking consensus, even if they still have some meaning. There does not seem to be any rhythm or reason in what is happening, which reflects many dreams randomly composed of elements floating around in our heads.

Overlooked in this analysis is how obsessive the main male character is, as he is 100% convinced that he's right despite the protests of the woman he so eagerly follows. His persistence is a mix of stalker behavior and his desire for a woman who has cold grace and beauty. Her response ranges from rejection and suspicion, which then gives way to wondering if he is indeed correct about their previous affairs between one another. This then gives way to her saying no again, resulting the entire cycle beginning anew.

Romance is often presented in movies as way too wonderful, or being many bitter moments in time. What Resnais' does is present love as neither of those things, yet at the same time does not bother with realism when it suits his movie. The choices made by the final lingering shot could very well lead to another lifetime of regret and longing; one such character suffers such a fate, and becomes lost in a endless cycle of longing, left to their devices in the comfy corridors of an ancient monument to the past. 96

Cream of the Crop: 2010 Edition

2010-11-16T20:27:00.007-06:00

This is the list of the best movies I've viewed this year out of over a 100 something films. All of them have scored 100s.

1. The Long Good Friday(1980)
2. Mulholland Dr.(2001)
3. A Clockwork Orange(1971)
4. Double Indemnity(1944)
5. Ed Wood(1994)
6. A Serious Man(2009)
7. The Social Network(2010)
8. The Exorcist: The Version You've Never Seen(2000)
9. Stop Making Sense(1984)
10. In The Loop(2009)

The Abominable Dr. Phibes (1971, Robert Fuest)

2010-05-18T22:45:00.005-05:00

Ah, Vincent Price. Widely known as one of the greatest actors and called a “national treasure” by some, he is truly awesome. In the 1971 schlock cult classic The Abominable Dr. Phibes, Mr. Price gives a performance worthy of such praise; the surprising aspect of this role is that he hardly speaks at all, with his voice filtered through a microphone of sorts. No, he lets the murderous doctor and famous concert organist’s actions “speak” for themselves, and in the process delivers a juicy part that is sinister, creepy, and monstrous while still remaining a bit sympathetic.

Meanwhile, the British Inspector Trout finds himself dealing with a rash of odd and cruel murders, as doctors who shared a single operation are dropping like flies. Men are killed by bees, frozen like popsicles, drained of blood-and that’s just a sampling of the crazy deaths that happen in this film. Assisted by the lovely yet speechless Vulvia, Dr. Phibes plays dead while raining down his Old Testament inspired vengeance, with his methods coming strictly from the 10 plagues that God imposed upon ancient Egypt.

While the plot itself is nicely inspired and consists of gothic horror and dark comedy, the film has other great attributes. The set design, particularly Phibes’ mansion, is absolutely stunning and colorful. I loved how he has his own little wind up mechanical band, and the organ which he plays in the style of The Phantom of the Opera is vivid, lively, and awe-inspiring. Furthermore, I loved that the director brought in Orson Welles’ old acting buddy Joseph Cotton to play the head surgeon who is forced to go on the offensive with Trout; the two of them have a decent rapport even though early on the film establishes the relationship between Trout and the policeman assisting him.

Another wonderful aspect of the film is its humor, which often pops up unexpected and therefore is even funnier than it really should be. Like I mentioned before, what we have is relatively dark, dry, black comedy that draws from the murder and violence that Dr. Phibes has in ample spades. One of the killings is actually so incredibly silly that it becomes humorous right off the bat, and the expressions of Trout and his assistant make the mood even more laughable.

Proudly displaying an eerie and strange finale that is also oddly touching, this picture is one of the highlights of the 70s horror scene. Price was truly one hell of an actor, and the films that he often was a part of are sadly long gone relics of an older age. 90

The Brood (1979, Cronenberg)

2010-05-06T17:17:00.007-05:00

Despite not being as good as, say, Videodrome, I wonder if I'll see a movie from Cronenberg that is as nasty as this one. Combing disturbing murders with some rather truly gross moments, this is a movie that covers rage in Croneberg's usual style of the mind-body horror that is his bread and butter. Sure also helps that this was his way of covering his rather messy divorce, which I'm sure didn't help make his art any happier or less misogynistic, although I'm not sure this movie really hates on women. Breaking up leads to people creating some rather bleak things, I suppose.

From the outset, the viewer discovers that Oliver Reed's arrogant psychologist is going beyond the limits of science in an attempt to "Cure" his patients of their problems. However, he has become obsessed primarily with the protagonist's wife, who has intense rage problems and is too quick to blame everyone and anyone for the way she is. Unfortunately in this case, that leads to the creation of freaky deformed monsters that emerge from her and become her very own "Children," therefore body mutation results.

But if you thought the body mutation in Videodrome or Scanners was beyond insane, what happens to the wife is something straight out of a demented nightmare. Not only is there a murder scene that manages to be rather starling for being something out of a low budget 70s horror movie, but also the movie's climax is enough to unsettle most jaded fans of the genre. Nasty doesn't even begin to cover what ends up happening, and I'm not even sure I really understand what transpires.

The fact remains though that in some ways Cronenberg is wary of science gone amok, or at least he may feel that some protective measures need to be put in place. The Brood isn't so much a movie about a woman's violent impulses that manifest in murderous mutant monsters (try saying that three times fast), but is rather a mediation upon the dangers of pushing something too far. In addition to existing as a way of cleansing the feelings of someone who went through all too common experience-divorce. 88

Call of Chullhu(2005)

2010-03-24T12:48:00.010-05:00

Confession: I've never read any of Lovecraft's works. This partly due to laziness, but mostly because after reading the descriptions of what they are about, I get a bit freaked out and lose my nerve. Seriously the thought of ancient monster elder gods slumbering, waiting to be awaken by human idiots that will end up becoming their slave meat puppets is pretty creepy. The movie kind of builds on that idea, if only limiting itself a bit due to its rather short and sweet running time.

Due to being a cool homage/throwback/experiment to silent cinema, the movie thrives largely on pure atmosphere, which is what the early silent horror movies and the Val Lewton films completely feed off of. Since the creators decided to use old school filming techniques, 1920s style acting (lots of lip reading, of course) they really weren't going to utilize more modern aspects such as the jump scare anyways. Which I actually like a great deal, being as these methods resulted in a truly eerie movie.

My only problem with this otherwise fine movie is the running length-its too short. Sure I admire the idea of leaving the audience wanting more, but many things could have been further fleshed out and the ending left me a bit unsatisfied. Yet I highly recommend checking this out, if only to enjoy a slice of cinema long since gone and now completely outdated. 90

Smoking Aces (2007, Joe Carhaun)

2010-03-24T12:43:00.006-05:00

As far as action movies go, this one is all right with me, since it contains plenty of action and interesting moments, to say the least. However, for some reason (probably having to do with the director being responsible for a far more intelligent movie previously in “Narc”), the movie also tries to elevate itself beyond the normal stupidity found in the genre. These efforts, for the most part, fail-yet they are noted and lightly appreciated, if only because the movie ends up becoming a big dumb action movie with a surprising ending.

Yes, I enjoyed the usual well-guided and executed mayhem, although there was some weird and out of place moments. Considering the movie’s subject material its cast is way too large, and also full of some well-regarded actors, coupled with a couple lesser-regarded actors/actresses. Standouts include the usually great Ray Liotta, the likable if harmless Ryan Renolds, and Matthew Fox (because of Lost) in a bit role. Jeremy Piven is also among the cast, but he does not do much, while Common felt a bit out of place and Alicia Keyes actually fit her role quiet well.

Having already given us the brilliant 2002 movie “Narc,” this is Joe Carhaun’s second effort, and in comparison to his first effort this is a disappointment, even thought it does manage to sport some really good parts and is highly entertaining. There is also plenty of humor here, but then most action movies are often intentional or unintentionally funny, since the genre itself is often quite silly.

This does not necessarily excuse some of “Smoking Aces” flaws (the ending belongs in a completely different movie, really) but it certainly helped me overlook some of them. Hopefully Carhaun brings us a third effort that is more up to the talent level of “Narc.” Especially since he already displays a decent amount of promise as a director. 71

Fight Club (1999, David Fincher)

2010-03-24T12:39:00.008-05:00

What is lost in the discussion about David Fincher’s mind blowing film is that Fincher successfully adapts a book not only about disgruntled youth, but also one that covers terrorist and anarchist beliefs. Without revealing too much, I note that this aspect of the film as being its most interesting. Certainly other films made before and after have criticized and rebuked the vapid idiotic consumerist culture that seems to be the dark and true side of the USA. Yet few have managed to articulate with such frightening, kinetic and member able force that satiric and angry vision.

What makes this work without the whole thing collapsing like a house of cards is Fincher’s steady commitment to the film’s strange focus and vision. Despite appearing to fly off the train tracks, never once does Fight Club appear to come unhinged, cloy, boring or pretentious, feeding off its own imaginary self-importance. This is important if only because the film could have just as easily ended up a bloated piece of self-righteous bullshit. Instead, it manages to transcend ordinary boundaries of Hollywood narrative, successfully utilizing every bit of insanity necessary to make magic and meaning out of the mundane.

Finally the terrorist angle is fascinating because the movie does not condemn terrorism, but instead presents it as a means to wake the masses up; although only one person is shown dying from its results, which indicates that this is more along the lines of eco-terrorism than the Osama and Timothy McVeigh variety. By showing just how many as so easily enraptured and in awe of a message that ends up appealing to almost everyone-the middle class, the working poor, etc-we witness how the half terrorist, half anarchist message so strongly resonates with people. Through the brain washing “Space Monkey” sequences we are also shown the group mentality, and how these people exchange one way of conformity for another, only one that is more loose and demanding less responsibility.

What we have here is not just a condemnation of consumerism and capitalism, but also the celebration of a new kind of revolution that only Karl Marx could have possibly dreamed of. “Our war is a spiritual war,” holds true in this sense, as the characters in the film belief in, instigate and become part of that war. Anyone who dismisses or sees this film as promoting violence or being too shallow in its ideas is either wrong or missing the point.

Fight Club is a great, masterful film simply for articulating and visualizing a world where the rich’s nightmare of the working class violently rising up in vast numbers is starkly realized. Considering that the theory of class conflict in today’s modern world is still valid, added in with the lessons of history, it is not too far fetched to imagine our timid version of class conflict blossoming into something far more violent. And ushering in an explosive and apocalyptic wave of change, for better or for worse, with worse being the most likely possibility. 100

Editors Note: This review in no way shape or form condones or supports terrorism. Sure I've heard the phrase "One man's terrorist is another man's freedom fighter," but terrorism usually results in the killing of innocent people. Which I believe is morally wrong.

American Psycho (2000, Mary Harron)

2010-03-23T20:59:00.009-05:00

Most satires center around comedy. Although human drama is involved, satire is a subgenre of comedy and its purpose is to make you laugh (at times) while making sharp, pointed critiques, usually aimed at certain people and or ideas. "Dr. Strangelove" and "Wag the Dog" take serious material and make it funny (the former though is the far better movie) and squeeze humor out of rather dark, bleak situations, featuring dark humor that is quite sharp and unflinchingly honest.

What's interesting about "American Psycho" is that there is dark comedy, yet in the end it is not a comedy-rather, it exists as a satire of the 1980s that also manages to exist as a slasher horror movie, building upon a subgenre of horror that has a long and illustrious tradition, although some would beg to differ due to endless slasher ripoffs and sequels. This movie is one gigantic rip on the 1980s, presenting the decade as a greedy, selfish, vapid and idiotic consumer driven culture ("American Psycho" and "Fight Club" would be fantastic as a double bill). The capitalistic jungle that Marx feared and opposed exists in the full extreme here, with the movie's main character Patrick Batman and his co-workers being the burogouise predators, who also happen to prey not only on those beneath them, but also upon each other.

The function of Bateman is to go one step further beyond that simple idea, in that his insane homicidal blood lust fueled by his lack of humanity emerges and is showcased often in his high rise penthouse apartment, where he butchers both those on the lower end of the economic ladder and even one of his rich upper class co-workers (with some exceptions-I cannot fully go into further detail without revealing the film's brilliant ending, and mediating upon Batemen's state of reality is full of spoilers). In the 1980s the recession and the rise of the corporate raiders, desperate and eager to climb the social and economic ladder of success, fuels the movie's rather nasty and depressing outlook filtered through Bateman, his employers, and of course his fellow co-workers.

Thus, through the crazed mind and terrible actions of Bateman does the horror/slasher aspect of the movie compliment and carry the film's message and ideas. Although I have yet to read the book, I'm not surprised that upon its release it was highly controversial-as was the movie itself. Not only were both created by women, they also focused upon how easily men can be cruel and harmful to women.

Two women, one the author, the other the director, dive into the mind of a misogynistic, chauvinistic, arrogant bastard, and then brazenly reveals that mindset to the world, which is still quite shocking to many people. Also, those prone to 80s nostalgia were probably furious that their world was painted as such a empty, miserable place in time and history, which is also in regards to the book, published in 1991 at the tail end of the decade.

Now this film is unsatisfying in some aspects, and has its weaknesses, especially since the rest of the cast pales in comparison to Christian Bale, who gives a force full, chilling, complex performance as Batemen-its among the best work he's ever done. William DeFoe is given a pointless role as a detective, while the lovely Reese Witherspoon has the thankless task of playing Bateman's insipid ditzy girlfriend, who does serve a purpose in that until the end she fails to realize he's truly, in her words, "A monster."

The satire at times is less interesting and original than the horror elements (one of the scenes where Bateman goes crazy with a chainsaw is something beyond words, and thanks to this movie I'll never look at "Its Hip to Be Square" the same way ever again) but at the same time even the horror elements wear a bit thin. Although the movie fails short of greatness, its still quite smartly made and very noteworthy. One should see it not only to get a window into the mind of a psychopath, but also to view a satire that ventures outside the safe confines of the comedy genre. 93

Eyes Without a Face (1960, Georges Franju)

2010-03-23T17:47:00.008-05:00

The "mad scientist" is the father of a horribly disfigured girl. A prominent plastic surgeon, he blames himself for her mangled face, ruined beyond almost all repair. In desperation, he has his lovely assistant kidnap young women; all in a vein attempts to give his daughter her face back. She has become a monster to a degree, inspiring pity in a handful of lyrical scenes. And yet with the blurry, quick glimpse of the terrible scaring, she frightens and horrifies the viewer. All of this reminds me in a way of Frankenstein's monster and other creatures who were born out of certain horrible experiences, and while also being somewhat sad due to not having the capacity to to live a "normal existence."

In this case, I have to note that the film doesn't completely sustain the rich, built up atmosphere. Although the musical score, which reminds me of the score for Little Shop of Horrors(1960) sounds like a demonic carnival, does work despite what some otherwise say. It works because by the final frame, we have witnessed something truly bizarre. There is of course also thoughts on beauty and how society prizes beauty to the point where it becomes vanity, but I thought that was rather obvious and not as important.

Besides all this, "Eyes" is a clear example of how horror can contribute to cinematic art, that the genre is much more than gore and random violence. For that alone it deserves to be noted, perhaps even celebrated. Although it falls short of greatness, this is a film that stands a very good chance of cracking my ever evolving Horror Top 50. 90

Watchmen (2009)

2010-03-14T20:06:00.014-05:00

“Who watches the Watchmen?”-A question scribbled in graffiti on a crumbling wall in a dying city. One that begs answering, and perhaps lies at the heart of both the graphic novel and its very good film adaptation. While I don’t feel either source material truly has the answer (its all subject to debate anyways), each explores the matter and other issues raised at hand in their own ways. The novel is more successful, but the film also does a fine job of bring such a complex multi-themed source material to life.

What is most notable about the movie is the stunning and striking visuals. They are magnificent and vivid, brought to life by both CGI and expert set design, and they are the movie’s strongest assets. In many ways the film’s director, Zach Snyder, perfectly captures the look and feel of the book’s illustrations. One of my favorite moments showcased on screen is a dream sequence that is both beautiful and terrifying, expertly capturing blind undying love in the face of nuclear destruction.

Despite many pointed criticisms aimed at the acting, there is nothing wrong with the movie’s cast. Even though Malin Aikmen and Matthew Goode are the weakest links, they are still fairly solid and properly bring their characters to life-despite the fact that Aikman was weak in the serious dramatic scenes featuring Laurie, and Goode made Ozy/Vedrt seem too much like a smarmy Bond villain. As Rousarch, Jackie Earle Haley had the best part of the entire bunch, and executed it with relish and great skill. Another standout aside from Bill Crudup’s spot on performance as Dr. Manhattan is Patrick Wilson, who captured Night Owl II’s brooding, impotent and weary personality in a way that speaks to his talent as an actor. I expect to see great things from him in the future.

Overall, this movie mostly captures the “Big Picture” elements of the graphic novel, and does have a decent amount of detail, but it does kind of falter in transferring some of the book’s more complex ideas to the screen. I cannot fully fault Snyder for not doing so though, since its remarkable that he managed to adapt the book at all, while keeping the whole thing at a reasonable length, overcoming the danger of a bloated mess. Although I do look forward eagerly to the longer director’s cut, which will also feature “The Black Freighter” and “Tales From Under the Hood.”

If anything, Snyder should be applauded for daring to bring this sweeping work of fiction to the big screen. His ambition, and unwillingness to change anything to make the movie “More modern,” which would have ruined the movie overall, results in a really good movie. One that actually stands to be remembered as one of the best comic book/superhero movies of the decade. 90

The Wages of Fear (1953)

2010-03-01T21:27:00.012-06:00

Creating and sub-staining tension and suspense is often necessary to the success of a movie. In this movie’s case, however, its white-knuckle tension emerges after a slow buildup that goes on for about a third of the whole movie. This approach works, if only to set up the movie’s characters of course. But if we didn’t care about these people, then the perils they end up facing later on would feel a bit trivial.

Four men, all French, are seen wasting away in a crumbling South American town that they can not escape from, due to a serious lack of funds needed to obtain passports. In desperation, they take a job, which can actually be considered more of a suicide mission than anything else, really. That job entails transporting liquid nitro through treacherous terrain in two separate and top-heavy trucks. Aside from their desire to be able to travel to a much happier destination, they are also motivated by greed as well as courage (at least in the beginning-then fear naturally sets in), and of course having no other alternative.

The trials and tribulations they face seem rather outrageous, yet they are executed in a way that makes you wonder how the group will survive, or if they will even live to reach the end of their hazardous journey. The middle of the film quickly becomes just that, multiple exercises in getting into, and then finding a way out of, high levels of danger.

My complaint about the ending dragging on, and the final scene being too easy to predict and see coming, this is a top notch thriller in addition to being a great drama as well. Onscreen we have a presentation of how to capture onscreen in a perfect fashion what drives people to engage in fool hardy and dangerous enterprises. 95

Annie Hall(1977, Woody Allen)

2010-02-22T22:24:00.010-06:00

My major concern is that part of me is all too much like Alvy Singer, the movie’s protagonist. We all have our own neurotic idiocies, but Alvy’s are magnified tenfold. He has serious manifestations of self-loathing, self-doubt, misanthropy, and is highly sarcastic. All of this makes him a great comedian-very witty and sharp-but leave him deficient as a human being. Why him and Annie Hall, the titular character, hook up is either a testament Avy having some kind of hidden charisma, or perhaps the fact that sometimes women see things in guys that, in all likelihood, one wouldn’t think they would be interested in having a relationship with.

I really don’t know, as love is a mystery, a secret element of life that I highly doubt I will ever understand. I commend Allen for not only skipping any attempts to rationalize romance, but also for so willfully breaking the “Fourth Wall” so that we can get a better look into his characters. One could call it the “Window into the soul,” if one was so inclined, but its better known as a great and popular film technique and narrative device.

Thus, despite the risk of such a move being perceived as a gimmick, thanks its use we emphasize even more with the movie’s characters. While not every movie should utilize it, but Allen appears to excel at doing so, and therefore we get hilarious moments such as when Annie and Avy’s families are jabbering back and forth. During that particular scene, subtitles are used to broadcast the character’s real, actual thoughts in their heads, and in another scene Annie’s feeling of being distant, which is unsaid verbally, is literally broadcasted.

Having seen more of his movies, such a move is something he has been known to do, although being limited in my viewing of his films I am not sure if this is something that he does on a regular basis. I imagine it is part of his quest to expand beyond convention cinema, as he has been known to do, but I’m not entirely sure.

Despite being a rather small part, I also liked Christopher Walken’s cameo, if only for its sheer comedic value, and because its quite possibly my favorite part of the movie. With that scene, Walken showcases that eerie, fantastic acting quality that he would showcase later on in his movies. With a couple of other heavy hitting movies already under her belt, Diane Keaton used this film to become even more respected as an actress, and it’s a shame that Allen didn’t make even more movies than he did with Keaton. She’s a lovely leading lady, very capable of emoting so many different feelings and actions. Through her in this movie, we not only get the sense of why modern day feminism truly emerged in the 1960s and 1970s, but that strangely thanks to Singer she makes something of herself.

Unfortunately for the couple, this all leads to an on-off again relationship that I’ve witnessed first hand in friends before, where they are not really working as a couple, but after breaking up they, for reasons unknown or unrealistic to me, they get back together again. The line “Relationships are like a shark, they have to keep constantly moving. And um, what we’ve got on our hands here is a dead shark,” is not only brilliant but very true as well. In the grand scheme of things, the trials and tribulations of love and relationships are a funny and complex thing. Which is what is finalized and actualized in this fantastic and rather moving, film. 100

Top 10 Of 2009

2010-02-21T01:55:00.016-06:00

To break in this blog, I'm going to post my current Top 10 of 2009:

Average Rating: 96

1. A Serious Man (The Coen Brothers)-100

Further embracing their brand of dark comedy that has gotten only stronger and more harsh lately (see: Burn After Reading), the Brothers Coen craft a truly amazing movie. Hilarious, unforgiving, honest, never flinching, and not providing any easy answers (perhaps even no answers at all), this is one of their best movies to date. In fact it bests their previous two efforts, which is no easy feat, and proves that they are among the top tier directors working today. The ending is flat out gutsy, and the dream sequences are hands down the best thing about the entire movie.

2. In The Loop (Armando Iannucci)-100

Brilliant, funny, a sharp political satire that rivals such classics as Dr. Strangelove and Network, this movie crafted by a British TV creator is a riot. Yet also manages to be highly relevant, filled to the brim with sharp dialogue, clever and often profane one-liners, and characters who resemble certain powerful people all too well. The most interesting thing about this movie is how it shifts tone from humor to serious drama with ease, and how by the final act Iannucci and company refuse to give any easy or neatly tied answers.

3. Antichrist (Lars Von Trier)-97

Working from the standard horror movie template, Von Trier manages to craft a disturbing nightmare that is not only a creepy journey into the mind of a psychologically scarred person but also a very effective horror movie. Using the forces of nature as a backdrop, he creates a controversial film that also examines both male and female, and could even be viewed as a twisted take on the old age story of Adam and Eve. A must view for those who take cinema seriously, but not for the faint of heart.

4. Up (Bob Peterson, Pete Docter)-97

Despite not having yet seen Cars or Wall-E, for now I’m assured that this is the best movie Pixar has ever produced. Featuring a montage sequence early on that is so emotionally gripping I was almost moved to tears, and building upon that with expertly created action sequences, entertaining characters (Dug is one of the best dogs ever), and even mediating upon growing old and fatherhood, this is an intelligent, truly great film. They just keep hitting home runs out of the park, and this movie is also noteworthy for really being geared more so to older audiences and not just younger ones.

5. Bad Lieutenant: Port of Call New Orleans (Werner Herzog)-95

Driven by an Oscar worthy performance from Nicholas Cage, in the hands of the amazing Herzog this goes merely beyond standard cop dramas. Spending most of the movie in a drug induced stupor, Cage's back pain suffering detective is pushed beyond his normal limits, operating and playing by only his rules in a city left in ruins by Katrina. As much an examination of one man's struggle to hold it altogether as it is about a unique place determined to rebuild itself after suffering near destruction, this movie is also a clever dark comedy, too. The iguana cam is really a moment that one probably won't see in another movie again anytime soon.

6. Inglourious Basterds (Quentin Tarantino)-95

Existing as his most daring and magnificent film in quite a while, QT recreates the WW II epic and in the process breaks many of the rules. The Germans actually speak German, the dialogue mostly requires subtitles, and Brad Pitt and the film’s title bunch actually take a backseat to a murderous but charming SS officer and the woman who’s family he had murdered. While I’m not sure if this or Kill Bill Vol. 2 is QT’s second best movie, I think that in some ways he has created another masterpiece, although only a second viewing will say for sure.

7. The Hurt Locker (Kathryn Bigelow)-95

Completely brushing aside the politics of the Iraq War, this tense and suspenseful action/drama artfully explores some of the soldiers involved in the conflict. More so like previous war movies that focused more on the soldiers and what they are going through than on the big picture of the actual war that they are fighting, this movie is skillfully made. Several scenes are painstakingly crafted and maintained, and the movie sports some of the best camera work of the year.

8. District 9 (Neill Blomkamp)-95

Perhaps one of the best sci-fi movies of the decade, this quite smart sci-fi/action movie is not only sharp, but covers so many different themes. Although its rather easy to read too much into the movie, the topics covered range from apartheid (the most obvious) to even the War on Terror and the troubling use of private security companies around the globe. There’s even Cronenberg style body mutation and the nightmare of becoming a second class citizen in your very own country. Not only lives up to the hype, but may result in a sequel that has the potential to be even more interesting and groundbreaking.

9. Up In the Air (Jason Reitman)-95

Even though this is billed as a comedy, there is a surprising amount of drama involved, although the subject matter calls for it. Covering the shattered remains of the American dream, and the current recession in a rather brutal and honest manner, Reitman’s follow up to Juno also artfully explores the life and times of a man. Played by George Clooney in an expert and daft performance, this anti-hero goes through a transformation and uncovers his humanity, although in doing so he discovers that nothing comes without a price tag attached. Funny, sad, even a bit on the tragic side, and easily one of the year’s best.

10. Moon (Ducan Jones)-94

Powered by Sam Rockwell, who was unfairly snubbed by the Oscars, this rather odd and strange sci-fi movie is the equivalent of Castaway in space. Only instead of Tom Hanks on an island, its Rockwell alone on the moon, left to mine its resources with a lone computer voiced by Kevin Spacy for company. What happens next is rather unexpected, even for those who have seen the previews, and it completely changes the notions of identity and reality as well. Even more remarkable is the film's special effects, and how Rockwell is able to utilize his incredible acting abilities-and the ending is something you do not see coming at all.

HM: Where the Wild Things Are, Partly Cloudy, Public Enemies, Zombieland, The Informant!