The Burbs (1989)
You’ve got to hand it to Joe Dante. After upsetting everyone’s parents and scaring kids senseless with Gremlins(1984), here he gives us the only PG horror movie, disguised as a Tom Hanks comedy. Featuring serial killers, Satanism(what was it with Hanks and Satanists in the 80s- he was also chasing them in Dragnet(1987), and possibly cannibalism, the Burbs skirts deliriously close to bad taste for much of its running time. Although the tale sometimes seems too slight for Dante’s talents, he unleashes every trick in his considerable arsenal to keep it interesting, including a great soundtrack by Jerry Goldsmith aping his own Patton(1970) score everytime Bruce Dern appears. You can see why regular audiences didn’t know how to take this but for film nerds(who will wet themselves seeing Dick Miller and Robert Picardo as arguing binmen), this is manna from heaven, from the Spaghetti Western clichés to breakfast cereals called Freakies, and of course Gremlins. Dante would go on to top even this with Gremlins 2 the next year. 10/10
Friday, May 21, 2010
Thursday, May 20, 2010
A Prom to Miss
Prom Night (1980)
With little to recommend it, apart from the lovely Jaime Lee Curtis, and Leslie Neilson disco dancing, Prom Night was a Canadian production (look out for the actor playing the weird janitor(obvious red herring) who plays a weird patient in Cronenberg’s The Brood(1979), made in the unenviable time between Halloween(1978) and Friday 13th(1981). You can tell the slasher template hasn’t solidified in how the film plays more like a stodgy thriller for the first half, and has little bloodshed or imaginative deaths in the second. It does still manage to steal several scenes- the psychologist, the shaggin-wagon van and fate of the owner, and of course Jaime Lee, from Halloween. Prom Night also suffers from a horrible influx of disco music and ‘ the kids’ getting ready for the prom, like a poor man’s Carrie(1976). The makers might have thought they were giving the characters depth, but instead it just makes the audience have to wade through seemingly endless soap opera plotlines before anything exciting happens to a bunch of characters we don’t care about. Curtis stands out as the natural star, but unlike Halloween or Friday 13th, this really didn’t warrant a sequel, let alone three and a remake. 5/10
With little to recommend it, apart from the lovely Jaime Lee Curtis, and Leslie Neilson disco dancing, Prom Night was a Canadian production (look out for the actor playing the weird janitor(obvious red herring) who plays a weird patient in Cronenberg’s The Brood(1979), made in the unenviable time between Halloween(1978) and Friday 13th(1981). You can tell the slasher template hasn’t solidified in how the film plays more like a stodgy thriller for the first half, and has little bloodshed or imaginative deaths in the second. It does still manage to steal several scenes- the psychologist, the shaggin-wagon van and fate of the owner, and of course Jaime Lee, from Halloween. Prom Night also suffers from a horrible influx of disco music and ‘ the kids’ getting ready for the prom, like a poor man’s Carrie(1976). The makers might have thought they were giving the characters depth, but instead it just makes the audience have to wade through seemingly endless soap opera plotlines before anything exciting happens to a bunch of characters we don’t care about. Curtis stands out as the natural star, but unlike Halloween or Friday 13th, this really didn’t warrant a sequel, let alone three and a remake. 5/10
Wednesday, May 19, 2010
Avatar
Lots of fuss was made about this one and unfortunately I didnt get to watch on the big screen although after it won the oscars, I duly added it to my queue.
I can see how this would have been visually stunning experience if watched in the cinema and it is very creative in terms of how they showcased 'Pandora' the planet where the action takes place.
Basic storyline is probably familiar - The humans (Mercenaries) led by Colonel Quatrich basically want to pillage Pandora for its natural resources.An injured marine (Sam worthington) who is supposed to be on the side of the marines (hoo-ra) takes over an avatar of the alien race to integrate and learn about the native people. At first he is shunned but eventually he wins their trust, falls in love with a blue 'Navi' female and is integrated into the tribe and helps defeat the evil human invaders.
I liked the movie even it was a little bit long. I thought that Worthington was a bit wooden, although should have expected that after Terminator Salvation performance.Signourney weaver and Joel Moore (of Fox's Bones) were solid. The last 15 minutes however was a bit over the top/ridiculous (even in the spirit of the movie which itself is fairly out there) and altogether the movie was a bit predictable and borrowed a bunch of cliched scenes from other movies. Overall 8/10 and it might have got an extra point in the theatre.
ps.It was certainly better than Surrogates which has a loosely related theme with people taking over other bodies.
He's a Big Man, and he's out of shape
Harry Brown (2009)
Harry Brown is not a date movie, also, unless your terribly unlucky, it will probably also make you very grateful for where you live. Described somewhat lazily by the press as “a British Gran Torino,” or “Deathwish for Pensioners,” the strong anchor that stops the film’s worst excesses from spinning it out to sea, is Michael Caine’s performance. Caine can say more with his eyes than most actors can with their entire faces and bodies. Just take a look at the opening scene where he reaches over to touch the pillow where his wife used to sleep, or his telling of the story of watching his mate die, to a drug dealer he’s just shot. The other members of the cast don’t get much time to register- Liam Cunningham is relegated to the background until the end, although suspicions should be triggered as soon as we see him. The gang members are walking achronisms but also, just about this side of horribly realistic. It’s refreshing as well that Harry is not superhuman, watching Gran Torino, we never really had a fear of seeing Clint Eastwood hurt. Harry Brown in contrast, has us constantly in fear for the elderly Caine. It’s to the actor’s credit appearing in something so brutal (this gang could get the drop on Jack Carter before he had a chance to say something cool), that would scare away most established, and respected Knights of the Realm. So, no date movie then, but possibly the most horrific, non-horror film you’ll see all year. 9/10
Harry Brown is not a date movie, also, unless your terribly unlucky, it will probably also make you very grateful for where you live. Described somewhat lazily by the press as “a British Gran Torino,” or “Deathwish for Pensioners,” the strong anchor that stops the film’s worst excesses from spinning it out to sea, is Michael Caine’s performance. Caine can say more with his eyes than most actors can with their entire faces and bodies. Just take a look at the opening scene where he reaches over to touch the pillow where his wife used to sleep, or his telling of the story of watching his mate die, to a drug dealer he’s just shot. The other members of the cast don’t get much time to register- Liam Cunningham is relegated to the background until the end, although suspicions should be triggered as soon as we see him. The gang members are walking achronisms but also, just about this side of horribly realistic. It’s refreshing as well that Harry is not superhuman, watching Gran Torino, we never really had a fear of seeing Clint Eastwood hurt. Harry Brown in contrast, has us constantly in fear for the elderly Caine. It’s to the actor’s credit appearing in something so brutal (this gang could get the drop on Jack Carter before he had a chance to say something cool), that would scare away most established, and respected Knights of the Realm. So, no date movie then, but possibly the most horrific, non-horror film you’ll see all year. 9/10
Showing Signs of Rust
Iron Man 2 (2010)
You could say that a Superhero/Action film is only as good as it’s villain. In most cases, they fall short, either being preposterously unthreatening or so ridiculously powerful that their defeat seems like a cheat. The best examples are probably still Superman 2, where the Man of Steel was matched by adversaries with the same powers and ended up having to trick them and use brains rather than brawn to win, or Star Trek 2, where the revenge motif is upfront and foremost, and Kirk too couldn’t rely on his usual firepower. Iron Man 2 isn’t up to that standard, and it’s main failing is getting Mickey Rouke(scary but at no point a real threat), and Sam Rockwell( a minor league Lex Luthor and too stupid and larky to be taken seriously) to team up, but then make the typical villain mistake of infighting rather than pooling their resources. Jon Favreau actually undercuts any suspense or tension in their scenes together, and indeed, even in the two action set pieces, with ill thought out humour- in real life people don’t crack jokes when they’re in fear of their lives. What set the first Iron Man so high was that the opening third was played admirably serious. In this, even Tony’s slow poisoning gets a quick fix before we get a chance to be concerned, or see some real self destructive behaviour- Downey’s mild meltdown isn’t as good as Christopher Reeve’s in Superman 3, which is a damning commentary. By the film’s end Favreau also brings back a hokey earlier plot device stolen from Ghostbusters-“don’t cross the streams,” and falls back on the main failing of the original film- a robot punch-up. He’s just about got away with it twice now but added to the recent, pestilent Transformers franchise, the next bad guy is in desperate need of a new modus operandi. However, it’s to the credit of director and star that the film still remains so entertaining, but this felt like pandering to the audience, not stretching the concept. 8/10
You could say that a Superhero/Action film is only as good as it’s villain. In most cases, they fall short, either being preposterously unthreatening or so ridiculously powerful that their defeat seems like a cheat. The best examples are probably still Superman 2, where the Man of Steel was matched by adversaries with the same powers and ended up having to trick them and use brains rather than brawn to win, or Star Trek 2, where the revenge motif is upfront and foremost, and Kirk too couldn’t rely on his usual firepower. Iron Man 2 isn’t up to that standard, and it’s main failing is getting Mickey Rouke(scary but at no point a real threat), and Sam Rockwell( a minor league Lex Luthor and too stupid and larky to be taken seriously) to team up, but then make the typical villain mistake of infighting rather than pooling their resources. Jon Favreau actually undercuts any suspense or tension in their scenes together, and indeed, even in the two action set pieces, with ill thought out humour- in real life people don’t crack jokes when they’re in fear of their lives. What set the first Iron Man so high was that the opening third was played admirably serious. In this, even Tony’s slow poisoning gets a quick fix before we get a chance to be concerned, or see some real self destructive behaviour- Downey’s mild meltdown isn’t as good as Christopher Reeve’s in Superman 3, which is a damning commentary. By the film’s end Favreau also brings back a hokey earlier plot device stolen from Ghostbusters-“don’t cross the streams,” and falls back on the main failing of the original film- a robot punch-up. He’s just about got away with it twice now but added to the recent, pestilent Transformers franchise, the next bad guy is in desperate need of a new modus operandi. However, it’s to the credit of director and star that the film still remains so entertaining, but this felt like pandering to the audience, not stretching the concept. 8/10
Saturday, May 15, 2010
The Asphyx Gives off the Smell of Decay
The Asphyx (1973)
The Asphyx is quite possibly the slowest, least action packed horror film ever made. It concerns the Cunningham family(not Happy Days), headed by Robert Stephens as Sir Hugo. He discovers at the moment of death that an Asphyx or death spirit appears, and if you trap this, then the person becomes immortal. The concept is actually an intriguing one, and it’s to the film’s benefit that it does at least lead to several philosophical debates and a few great moments concerning beheaded and hung bodies that really should be allowed to die. The fate of his daughter in particular, actually seems worse the more you think about it, without having to witness it. Unfortunately, the film is as static as a play with all attempts to open it out a failure, the script interminably talky and the performances hilariously intense. Robert Powell(as adopted son Giles) and Stephens, pretty much holding up the film themselves, try their best but the former seems in a perpetual sulk, while the latter never seems to truly get a grip on whether his character is a total megalomaniac or flawed humanitarian. It doesn’t help that the audience finds it very hard to keep a straight face between the juxtaposition of the tragic obsession of the main characters and how seriously they are taking it, and the almost slapstick accidental deaths of the rest of the cast. Once Hugo goes from simply observing these to mistakenly causing the deaths of all those he is trying to immortalize, we start veering way too close to spoof territory for comfort. Indeed, in a strange way, this has a lot of similarities with the Omen and Final Destination series that proved so popular later, which also trod thin lines between frightening and ridiculous deaths. There are some interesting facets present though, apart from the main idea that leaves many ideas tantalizingly daggling-does the Asphyx have sentient intelligence? Can it be tricked? etc, the relationship between Powell and Stephen’s is unusually shaded for any type of film. In a typical horror movie, Powell would be the hero, and he does indeed voice apprehensions of what they are doing/tries to talk reason into Stephens, while Stephens is basically in the mad scientist role. However, as the film proceeds, Powell’s chip on his shoulder about being adopted seems to tip over into outright emotional revenge as he blames Stephen’s for pretty much everything that happens, takes no responsibility himself and ends up escaping consequences while also cursing Stephen’s by purposely ignoring their pledge. Stephens on the other hand, while he does get gripped with obsessions of his work, is always trying to do it for the benefit of others, has a very good motivation with the death of his wife and son, and after his daughter’s accidental death, does stop and want to repent. If anything, he is more a tragical figure, than the villain Powell paints him as. There are many shades of gray to both characters, but unfortunately, such is the film’s stodginess that we are never sure if this was intentional or not, it comes across as more just muddled.
So apart from a few refreshing moments, even the most dedicated horror fan will no doubt find The Asphyx a slow slog uphill for precious little reward.
6/10
The Asphyx is quite possibly the slowest, least action packed horror film ever made. It concerns the Cunningham family(not Happy Days), headed by Robert Stephens as Sir Hugo. He discovers at the moment of death that an Asphyx or death spirit appears, and if you trap this, then the person becomes immortal. The concept is actually an intriguing one, and it’s to the film’s benefit that it does at least lead to several philosophical debates and a few great moments concerning beheaded and hung bodies that really should be allowed to die. The fate of his daughter in particular, actually seems worse the more you think about it, without having to witness it. Unfortunately, the film is as static as a play with all attempts to open it out a failure, the script interminably talky and the performances hilariously intense. Robert Powell(as adopted son Giles) and Stephens, pretty much holding up the film themselves, try their best but the former seems in a perpetual sulk, while the latter never seems to truly get a grip on whether his character is a total megalomaniac or flawed humanitarian. It doesn’t help that the audience finds it very hard to keep a straight face between the juxtaposition of the tragic obsession of the main characters and how seriously they are taking it, and the almost slapstick accidental deaths of the rest of the cast. Once Hugo goes from simply observing these to mistakenly causing the deaths of all those he is trying to immortalize, we start veering way too close to spoof territory for comfort. Indeed, in a strange way, this has a lot of similarities with the Omen and Final Destination series that proved so popular later, which also trod thin lines between frightening and ridiculous deaths. There are some interesting facets present though, apart from the main idea that leaves many ideas tantalizingly daggling-does the Asphyx have sentient intelligence? Can it be tricked? etc, the relationship between Powell and Stephen’s is unusually shaded for any type of film. In a typical horror movie, Powell would be the hero, and he does indeed voice apprehensions of what they are doing/tries to talk reason into Stephens, while Stephens is basically in the mad scientist role. However, as the film proceeds, Powell’s chip on his shoulder about being adopted seems to tip over into outright emotional revenge as he blames Stephen’s for pretty much everything that happens, takes no responsibility himself and ends up escaping consequences while also cursing Stephen’s by purposely ignoring their pledge. Stephens on the other hand, while he does get gripped with obsessions of his work, is always trying to do it for the benefit of others, has a very good motivation with the death of his wife and son, and after his daughter’s accidental death, does stop and want to repent. If anything, he is more a tragical figure, than the villain Powell paints him as. There are many shades of gray to both characters, but unfortunately, such is the film’s stodginess that we are never sure if this was intentional or not, it comes across as more just muddled.
So apart from a few refreshing moments, even the most dedicated horror fan will no doubt find The Asphyx a slow slog uphill for precious little reward.
6/10
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