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If you’re not familiar with the survival story of Aron Ralston you’ve probably been living under a rock, but you’re forgiven. Ralston’s story was published under the title Between a Rock and Hard Place, and made #3 on the bestsellers list in America, #1 in Australasia, and is the 7th bestselling autobiography of all-time in the UK. Now English director Danny Boyle has made a movie, 127 Hours (2010), based on Ralston’s book and his horrifying ordeal; with his arm pinned by a rock Ralston was stuck in a crevice deep in the Utah desert canyon for five days, trying to extricate himself, but to no avail. With the last of his drinking water consumed, delirious from heat exhaustion, sleep deprivation, and the pain from his crushed arm, Ralston made the ultimate decision and endured a life-saving act; amputating his lower arm.

James Franco as Aron Ralston

Danny Boyle’s career has been uneven, a couple of truly great movies, a few interesting ones, and some mediocre to misfires. 127 Hours is the best movie he’s made since Trainspotting (1993). Not only is the movie a superb achievement in mise-en-scene, especially considering the limitations of the subject matter - essentially one man trapped in a crevice for an hour-and-a-half - with an inventive visual style and vivid cinematography (two DOPs), but also Boyle extracts a fantastic performance from James Franco, who may not look like Ralston, but he delves deep into Ralston’s psyche and delivers the goods.

Aron cuts loose on a typical lone bike ride

The camera work courtesy of Enrique Chediak and Anthony Dod Mantle is the movie’s other star, capturing the raw essence of the landscape; both its beauty and its desolation, but more importantly, the machinations of Ralston’s mind visualised in different ways; through flashback, fantasy, hallucination, and premonition. This is Boyle and co-screenwriter Simon Beaufoy’s most inspired decision: not to resort to voice-over narration. The movie becomes elevated from its geographical and geological ball and chain.

127 Hours James Franco, Kate Mara, Amber Tamblyn

Aron shares an hour or so frolicking with strangers Kristi (Kate Mara) and Megan (Amber Tamblyn)

Aron Ralston made the biggest mistake when he failed to let anyone know where he was going. But he’d been living in this reckless fashion his whole life, embracing his independence and his passion for the outdoors with total disregard to a crucial element of safety. And it was this shunning of the importance of having an anchor, a communication lifeline, which would cost him most of his right arm, and almost his life. I’m sure this plagued him for a long time after his ordeal.

Aron sets off on his own again

“You know, I've been thinking. Everything is ... just comes together. It's me. I chose this. I chose all this. This rock ... this rock has been waiting for me my entire life. It's entire life, ever since it was a bit of meteorite a million, billion years ago. In space. It's been waiting, to come here. Right, right here. I've been moving towards it my entire life. The minute I was born, every breath that I've taken, every action has been leading me to this crack on the out surface.”

Trapped between a rock and a hard place

There is an extraordinary visceral and immediate quality to the movie, and not just the kind of viscera you’re anticipating. Yes, the amputation is depicted, and it’s gut-wrenching for those not used to that kind of graphic horror, although us hardened horrorphiles will find it on the tamer side (it’s actually the thought of what he’s doing which is more appalling, especially when he comes to severing the nerve!) But the movie isn’t about the horror of Ralston’s DIY survival surgery, it’s about the mental and emotional process he goes through over those five arduous days and nights, his life flashing before his eyes in slow motion, thoughts recorded on his camcorder, the remembrance of significant (and not so significant) past events. I won’t use the word reminisce, because that places a poignancy on his experience, this is more about futility vs. perseverance; an animal-like true grit that enabled Ralston to do the unthinkable, in order to live another day, and to be reunited with loved ones (and to fulfill his destiny).

127 Hours James Franco and Clémence Poésy

Aron laments his romance with Rana (Clémence Poésy)

But 127 Hours isn’t dogged down by any kind of religious revelation. God isn’t present in Ralston’s ordeal. There’s an eagle that passes by every day, along with the clouds. That’s as close as Ralston gets to having a religious epiphany. Ralston’s realisation comes in the form of something more familiar, more familial. It might sound corny, but in 127 Hours, love rears its head in the most unusual and affecting way.

Aron's mind is desperate for freedom

Not only did Ralston have the courage, determination and strength to break his bones and severe his lower arm (aided by a makeshift tourniquet and executed with a small, cheap, and dulled pocket-knife), but he managed not to black-out, then repelled down a 65-foot cliff and walked for many miles before finding help. He was air-lifted to hospital six hours after cutting his arm off.

127 Hours is a superb achievement, if you can handle the inevitable. James Franco has been nominated for an Academy Award for his performance and I’m rooting for him. The movie is up for several other Oscars, but Danny Boyle and the two cinematographers have been snubbed (Boyle deserves it much more than for his Slumdog Millionaire win). Once again the Academy gets the wrong end of the stick. It’s up for eight BAFTAs, and hopefully should win several of those. I should also mention the excellent score, by A.R. Rahman, which has been given the Oscar and BAFTA nod.

A self-portrait of the real Aron Ralston at the scene

If you’re thinking the world’s against you, if you’re thinking life’s cruel and unfair, check out 127 Hours. That’ll put things in perspective, in a most inspirational way. 127 Hours is gripping and strangely rewarding. Inexplicably James Franco might not grow any stubble over the five days, but as an audience you’ll forgive that lack of continuity, and inexorably grow quite fond of his version of Ralston.

Here’s the trailer:

For those wanting the gory details of the real thing, he’s a clip taken from a doco with Ralston re-counting the amputation at the location:

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Frozen

January 20th 2011 03:10

Not to be confused with a Val Kilmer straight-to-DVD supernatural thriller or a docu-drama about an artistic suicide from China, Frozen (2010) is Adam Green’s latest (a straight-to-DVD release down under). Green is the man responsible for the dreadful Hatchet (2006) slasher flick, and its sequel Hatchet II (2010). Green was busy, releasing two features in one year. I’m highly unlikely to watch Hatchet II, even though it’s meant to be better. 120 gallons of blood is not gonna make a better movie. Trust me.

I’d read a few comments online that gave Frozen the thumbs up, so I thought I’d give it a shot. It’s a three-hander set almost entirely on a chairlift in the fictional ski resort of Mount Holliston, New England. The township is real, but there’s no skiing there, the movie was shot in Utah on a very modest budget, and it shows.

Frozen Emma Bell, Kevin Zegers, Shawn Ashmore

Parker (Emma Bell), Dan (Kevin Zegers) and Joe (Shawn Ashmore)

Dan (Kevin Zegers) and Joe (Shawn Ashmore) are best buddies. Dan is a snowboarder and Joe is a skier. Dan has brought his girlfriend Parker (Emma Bell) along for the weekend. She can’t snowboard or ski, so the lads spend much of the afternoon hanging around the learner’s slopes. The lift’s are about to close for the day, and the boys are desperate to get a couple of decent runs in. They’ve already bribed the chairlift operator for cheap day passes; surely they can squeeze one more run in even though he’s put the closed sign up? Parker bats her eyelashes, and the operator rolls his eyes; one more run it is.

Stuck in the big freeze

But wicked little fate intervenes and the operator is called away from his post. The substitute sees three skiers finish a run and assumes it’s the three the operator had mentioned. But it’s not. Dan, Joe and Parker are still on the lift, and the lever is pulled. The chairlift grinds to a halt. Then the ski field lights go out. This is not good. And it ain’t a case of hanging until the morning for the snow-cats to groom the slopes, because it’s Sunday, and the field isn’t open again until the following Friday. Oh dear.

Canine lupis a la menace

So now we get to spend seventy-odd minutes stuck with these cheapskates stuck on a chairlift on a freezing dark mountainside. That wouldn’t be too bad if the dialogue was any good, but it’s tedious. The performances are adequate, but not overly convincing. The characters themselves aren’t obnoxious or annoying, but they’re not interesting, and that’s a cinema crime for a movie this insular.

The old hand frozen to the safety-bar trick

Adam Green apparently shot the whole movie actually on the chairlift, fifty feet high, and didn’t use any sound stages or CGI work. That’s impressive, but the irony is that much of the movie looks like it is a sound stage or shot against a green screen. The movie is dramatically snowbound, and when the wolves appear any plausibility goes out the window. What the fuck is a pack of savage, hungry wolves doing on a skifield?! And why didn’t one of the lads attempt to climb back along the cable first, before making the dumb decision to jump fifty feet onto hard-packed icy snow? Parker isn’t the only dizzy blonde it seems.

When the going gets tough, the tough get going

I have to digress for a moment … What the fuck is it with Americans giving girl’s surnames as first names? Parker?! I don’t get it. And to rub this irritation further, Joe mentions at one point how weird it was that a lover called him by his surname during sex. Go figure. The drivel spouted by these three characters (when you can actually hear what they're mumbling) is mind-numbing.

Online movie “guru” Harry Knowles (of Ain’t It Cool News fame) is quoted on the DVD cover; “Scary and intense. I loved it.” He’s been smoking ice or something. He’s deluded. Frozen was no more frightening than a tub of ice cream. And what’s with Adam Green’s explanation over an alternative deleted scene depicting the gory demise of a character as a chance to include some of “the red stuff” for his loyal fan base (Hatchet freaks). Talk about sycophantic!

I've heard of wolfing your meal, but this is ridiculous

I actually wanted to like Frozen. It’s not a terrible movie, but it’s painfully mediocre, and that is often a worse crime. Curiously, Green was a producer on Grace (2009), another low-budget horror-thriller that wanted to be so much better than it actually was. Frozen's tag line reads “No one knows you’re up there.” What about “On a dark empty skifield no one can hear you yawn” … ?

Damn, that's a bitch when you lose your glove

Here’s the trailer:

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Christiane F. (Wir Kinder vom Bahnhof Zoo)

January 18th 2011 03:36

“Can you dream about anything? Can you really be sure you are not dreaming? Can you dream - are you dreaming, have you pinched yourself to see that you weren`t dreaming?”

Christiane F. (1981) is the harrowing true portrait of Christiane Felscherinow, a teenager who lived in a high-rise apartment block in the desolate neighbourhood of Gropiustadt in Neukölln, West Berlin, in the late 70s. Social disease was prevalent in this area and Christiane, just thirteen years young, managed to survive a spiraling descent into narcotic abuse and, inexorably, prostitution in order to feed her chronic addiction.

Natja Brunckhorst as Christiane

During a court trial where Christiane was a witness she was approached by two authors, Kai Hermann and Horst Rieck, who tape recorded interviews with her about her time as a junkie, the drug scene, and what lead her into it. It was published as Wir Kinder vom Bahnhof Zoo (We Children of Zoo Station), and soon after was made into the movie Christiane F. - Wir Kinder vom Bahnhof Zoo (abbreviated to Christiane F. for international release), directed by Uli Edel, who later made the equally grim and disturbing Last Exit to Brooklyn (1989).

Christiane F. Natja Brunckhorst and Thomas Haustein

Christiane meets Detlev (Thomas Haustein)

The movie’s producers capitalised on Christiane F.’s adoration of David Bowie and featured the rock star in a fabricated concert sequence, as well as having Bowie contribute nine songs to the soundtrack, most notably, Heroes (and its German-language version Helden), which feature mostly during the scenes in Sound.

Shot on location in the real neighbourhood and in the notorious nightclub Sound where the punk rock and new wave wastrels would hang out, get buzzed and whacked out, and loiter on the streets and apartment rooftops with intent, Christiane F. is shot with mostly available light and apart from the central cast utilises non-professional actors (many of whom look like real junkies) to fill the peripheral edges of the scene.

Chillin' in dawn's cold light

Hittin' the spot with the shot

Natja Brunckhorst, who plays Christiane, was just fourteen years old when she made the movie, playing the same age as her character. Considering what the actor had to do for the part - simulate frequent intravenous drug use, some brief nudity and a sex scene – young Natja must have been quite the mature adolescent to be able to deal with these demands. Keeping in mind this was made in Germany, thirty years ago. There’s no way the director would get away with it these days. As concerning as that fact is, it certainly adds a heightened realism to the movie, and thus adds further weight to its intended sub-cultural punch.

All smacked out at home

Christiane is lonely and impressionable. Her father has abandoned the family and her sister has moved out of home. She spends her time at the Sound discotheque hanging with her girlfriend Kessi (Daniela Jaeger), drinking, dropping acid and popping valium, and listening to David Bowie who always seems to be on the dark and dingy club’s sound system (apparently Sound was considered state of the art back in the day, but it’s hard to fathom that from the movie). Christiane meets Detlev (Thomas Haustein), a seventeen-year-old, and there is a tentative attraction between them. Detlev has moved from the pills and tabs to “H” (as it’s referred to). They share a joint on a building rooftop, and when Christiane injects her own tattoo (a question mark) on her hand like that which Detlev has, a dependent bond has been etched.

Cold Turkey blues

The movie follows Christiane’s gradual progression into the nightmare world of heroin addiction. She, Detlov, and the others they hang with, can only think about the next fix. There is no glamour to the high, in fact the movie never focuses on any kind of real pleasure the junkies might be experiencing. In one crucial scene when Christiane is reluctant to shoot up, she’d rather snorting the heroin, her friend Axel (Jens Kuphal) likens shooting up to sexual ecstasy, but after she injects she tells him it wasn’t the sexual climax she was expecting).

Back in the game, desperate as ever

The real horror of the addiction is depicted during a lengthy scene where Christiane and Detlev attempt to go cold turkey and deal with the agony of heroin withdrawal, and the degradation of the soul when Christiane succumbs to street prostitution, just as Detlev has already been doing, in order to get the money together to buy more junk. Another powerful scene has Christiane collapse in her bathroom during the night after shooting up, only to regain consciousness in the morning with her mother trying to get into the locked room. Christiane barely has the strength to unlock the door. Subsequently her mother brings Detlev to the house where they attempt to get off the drug together.

One more hit, and that's it

The movie’s two cinematographers, Jürgen Jürges and Justus Pankau capture the look and feel of the story with a spare, haunting beauty, juxtaposed with its scenes of squalor and sordidness. There is a stunning tableaux shot of the group of teens on a building rooftop between antennae in the dawn light. During a scene in Sound’s small cinema Night of the Living Dead (1968) is playing; the metaphor heavy like a junkie’s eyelids. David Bowie’s Heroes, already a melancholic grind, becomes even more heartbreaking.

The real Christiane F., circa 1983

Natja Brunckhorst is extraordinary in the eponymous role, striking looking, ultra-slender, with a deceptively vogue dress sense, her face expressing both the vulnerability of a young adolescent, but also the detached cool of a quietly desperate teenager. It’s curious to discover that the real Christiane Felscherinow was also very pretty (a more conventional beauty), and could have pursued modeling, but chose instead to pursue music (she formed a synthpunk band with her boyfriend, and even had a few singles released on her own). She has apparently battled addiction her entire life, but, unlike some of her friends portrayed in the biopic, she is a survivor.

Christiane Felscherinow, circa 1983

Christiane F. might not be quite as shocking as it was back in the early 80s, but it still packs a punch, and the shooting up scenes still look nastily convincing. Not stylised or charismatic like Trainspotting (1994), Christiane F. is a sombre, atmospheric urban bad dream that lingers long after that final filthy hit in the public toilets of Bahnhof Zoo. According to those that lived in that part of Berlin during that period, the movie is depressingly realistic. But it makes for a memorable cinema experience.

Here’s the trailer:

Christiane F. DVD is courtesy of Umbrella Entertainment, many thanks!

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Black Swan

January 14th 2011 04:05

Superlatives come easy when praising this movie. It’s a hard film to fault. It’s a tour-de-force from director Darren Aronofsky, an operatic opal and onyx, as beautiful and poetic as it is seething and ferocious. It is Aronofsky’s Raging Bull; he’s thrown everything he knows about the art and technique of movie storytelling, film grammar and mise-en-scene, but kept himself restrained, even minimal, a sly masterwork. Black Swan (2010) is a gorgeous creature reflecting a malevolent nemesis. It is the sensual loneliness and psychological fragility of the pursuit for the perfect lead performance. It is a tenebrous nightmare with white feathers and a lilting melody.

Natalie Portman as Nina

Nina (Natalie Portman) is the Swan Queen, her nemesis comes in the form of Lily (Mila Kunis), the Black Swan. Vincent Cassel is the Gentleman, Thomas Leroy, the head of the ballet company, and their mentor. The Queen is Nina’s controlling mother Erica (Barbara Hershey), and the dying Swan is bitter, aging Beth (Winona Ryder). It is Swan Lake and beyond as seen, studied, filtered, and delivered through the chimera vision of Darren Arofonsky, one of America’s truly great contemporary directors. The fracturing of the paranoid mind as one struggles with obsessive behaviour, repression, identity, the fear of losing control … and the performance, both unconsciously and deliberately.

Mila Kunis as Lily

The original story by Andres Heinz was first penned more than a decade ago, as The Understudy, and set within the world of New York theatre. Darren Aronosky decided to transplant it the world of ballet, and Mark Heyman and John J. McLaughlin adapted the screenplay with Heinz. It is one of the most dramatic and affecting portraits of the tortuous rigueur of ballet, but it is also a fine horror-thriller that grapples with a supernatural undertone, a kind of black magick, a succubus guise, yet works on the surface as a tragic tale, even a fable (be careful for what you wish for), of a troubled princess and her elusive prince

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Grace

January 13th 2011 01:03

This is a curious, peculiar, frustrating, and ultimately unrewarding movie, yet it offers just enough beguilingly nightmarish elements, solid performances, and a rather concise running time (just 80 minutes), that Grace (2009) rises above most of the straight-to-DVD releases. This is a tale most mothers-to-be will want to steer clear of, but will appeal to those vampiriphiles (is that a word?) looking for something a little different, and perhaps a touch perverse.

Madeline (Jordan Ladd) and Grace

Writer/director Paul Solet’s debut is based on a short film he made in 2006 which received critical praise, enough so that he got funding to turn the short into a feature. It’s a modestly budgeted movie, and it shows (mostly interiors and a small cast). It’s a US production, but was shot in Canada and uses a mix of American and Canadian actors, most notably Jordan Ladd (Cheryl Ladd’s daughter, now in her mid-30s) and Gabrielle Rose (a one-time regular in Atom Egoyan’s early movies).

Samantha Ferris as Patricia

Jordan plays Madeline, a woman desperate to be a mother. She’s had two miscarriages and her marriage to Michael (Stephen Park) is distant, even loveless. Even more strained is Maddy’s relationship to her husband’s mother, Vivian (Gabrielle Rose), who doesn’t like her daughter-in-law’s turn to veganism one little bit. Maddy is pregnant again and is determined this baby will be born. But fate deals the family a tragic blow; a car crash kills Michael and causes Maddy massive internal bleeding. But she recovers and insists her baby is okay. Her mid-wife (whom Vivian also disapproves of), Patricia (Samantha Ferris), is not so convinced. The difficult home birth confirms everyone’s worst fears. The baby is stillborn

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Quattro Mosche di Velluto Grigio (Four Flies on Grey Velvet)

January 12th 2011 00:37

Dario Argento’s rarest movie, his third feature, and a giallo with some great elements, but seriously flawed by an uneven tone, some dull scripting, and ill-conceived casting. Four Flies on Grey Velvet (1971) swiftly followed Argento’s The Cat O’ Nine Tails (1971), but due to ongoing litigation between Argento and Paramount studios, who owned the American distribution rights, the movie received a very limited VHS release (an official DVD was finally released in 2009 but has been criticised as being a stitch of previous bootlegs). The Euro and limited US VHS versions have been the source of all the bootlegs, and the version I have is a widescreen letterbox English dub version, yet is still cropped on either side, features newspaper articles and signs in Italian without subtitles, and sports poor audio, still, those Argento flourishes shine through.

Four Flies on Grey Velvet Mimsy Farmer and Michael Brandon

Mimsy Farmer as Nina and Michael Brandon as Roberto

A rock musician, Roberto (Michael Brandon) is stalked and by an unknown killer who's blackmailing him for the accidental killing of another stalker, Carlo (Calisto Calisti). Roberto is plagued by a re-occurring nightmare of his own execution-style beheading, while he keeps his wife Nina (Mimsy Farmer) at arm’s length. His attractive cousin Dalia (Francine Racette) arrives, only to distract him. Roberto involves two beatniks, God (Bud Spencer) and The Professor (Oreste Lionello) and a camp private investigator Gianni (Jean-Pierre Marielle), but is everything what it appears to be?

Four Flies on Grey Velvet Francine Racette

Francine Racette as Dalia

Four Flies on Grey Velvet Jean-Pierre Marielle

P.I. Gianni (Jean-Pierre Marielle) with Roberto

Of course not, this is a giallo, there are red herrings, false turns, confusion and distraction aplenty. And this is Dario Argento sharpening his stiletto blade, so there’s a lot of style over substance. Four Flies on Grey Velvet is best enjoyed for Franco Di Giacomo’s excellent cinematography, Argento’s widescreen compositions, and for two or three set-pieces; chiefly the opening credit montage sequence, the initial stalking and manslaughter scene in the theatre, another murder sequence within Roberto’s pad, Roberto’s plaza nightmare (shown in re-occurring fragments, each one closer to the execution by sword), and the movie’s dramatic denouement and final death scene, a car crash in slow-motion

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The Beyond

January 10th 2011 00:34

In the dark putrid pantheon of zombie cinema there are two names that command deep respect; one, an American, known for his socio-political satire and the use of ground-breaking special effects, and the other, an Italian, known for his saturation of atmosphere and nightmarish narrative (or lack thereof). One is George Romero and the other is the late Lucio Fulci. The Beyond (1981) is regarded by fans as his best work in the zombie realm, a genre he injected with his own brand of supernatural eeriness. The Beyond is the second part of Fulci’s loose Gothic Death trilogy, of which City of the Living Dead (1980, a.k.a The Gates of Hell) is the first, and The House by the Cemetery (1981) is the third.

The movie’s original Italian title translates as And You Will Live in Terror – The Afterlife, but was known under various titles around Europe. I first saw the movie as a butchered VHS version titled The Seven Doors of Death, but it is best known as The Beyond. It wasn’t until the advent of DVD that the movie’s uncut form became more readily available to horrorphiles. Quentin Tarantino championed the movie and using his clout and distribution label, Rolling Thunder Pictures, he got hold of the original master and restored the movie, playing it as part of his grindhouse midnight screening in select cities around America. Apparently it was the movie’s original German distributors that insisted on the story’s rampaging zombie finale, in order to cash in on what was a glut of zombie flicks being made throughout Europe

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Les Diaboliques (The Devils)

December 16th 2010 02:25

Henri-Georges Clouzot’s superb murder-mystery thriller tells the story of the wife of a cruel headmaster, and his mistress, both of whom conspire to kill him. But after the murder is committed, his body disappears, and strange events begin to plague the two women. The Devils, or The Fiends, as it was called in Britain (and the title I prefer), is a wickedly mischievous tale, one that plays with our moral sensibilities, and during the movie’s final ten minutes ramps up the suspense to nail-biting extremes, then slaps us with a truly shocking crescendo of madness and manipulation, finally coming to a rest with a most curious and ambiguous epilogue.

Les Diaboliques Vera Clouzot and Simone Signoret

Vera Clouzot as Christina and Simone Signoret as Nicole

Les Diaboliques (1955) is cool, efficient cinema storytelling driven by strong performances and a masterful playing of the kind of devices Hitchcock excelled at. In fact Hitchcock had wanted to adapt the novel Celle Qui N'était Plus (She Who Was No More) by Pierre Boileau and Thomas Narcejac, but Clouzot managed to secure the film rights only a matter of hours before Hitchcock! Boileau and Narcejac subsequently wrote D'Entre les Morts (From Among the Dead) especially for Hitchcock, who filmed it as Vertigo in 1958.

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Tron: Legacy

December 15th 2010 02:36

Disney’s Tron: Legacy (2010) continues the visionary digital universe first witnessed in Steven Lisberger’s ground-breaking, but now inexorably dated, Tron (1982). This is a movie project that has been long anticipated. The idea for a "Tron II" has been around for many, many years. Teaser trailers for Legacy have been floating around the internet and appearing at sci-fi conventions for the past two years. Much talk has been made over what kind of future the sequel to Tron would occupy. Now it is time to jack back into the world Kevin Flynn was instrumental in creating. But he has given (re-)birth to a monster program too; his doppelganger, Clu 2, a digital version (Codified Likeness Utility) of his younger self, who has been responsible for overseeing an entire civilisation that his User provided the inception for. But now a new figure enters the digital universe; a boy in search of his father.

Garrett Hedlund as Sam Flynn

Sam Flynn (Garrett Hedlund), now 27, and a talented hacker and agile adventurer, becomes intrigued when Alan Bradley, Flynn’s former colleague, informs Sam that a message from his father, who vanished without trace (well, almost) in 1989, has appeared on his old pager. The teaser is sourced to the long-closed-down video arcade building that was once owned and operated by Flynn. While nosing around inside the building Sam finds a hidden basement and a very cyber secret. Subsequently Sam initiates a computer sequence and is transported to the digital realm of The Grid, a digital world on the other side of the screen. But this version of The Grid is a much more impressive and dangerous world than the one that featured in the first Tron movie.

Jeff Bridges as Kevin Flynn

Sam meets Quorra (Olivia Wilde), who bears a similarity to Kevin’s old flame Lora (Cindy Morgan, who does not make an appearance in Tron: Legacy, despite her significant involvement in the first movie – apparently, according to the official Tron 2.0 video game, she died due to a misfiring of a digitizing laser, what a shame!) Tron (Bruce Boxleitner) and Quorra assist Sam in being reunited with his father, an outcast and practitioner of the art of Zen. They attempt to overcome Flynn’s nemesis, Clu 2, who is programmed to stop at nothing amidst a strange and mesmerizing digital landscape far more advanced than anything presented in the original Troniverse

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Galaxy of Terror

December 9th 2010 22:50

The legendary producer Roger Corman had already made over 130 low-budget movies by the time he produced Galaxy of Terror (1981). The Alien (1979) and Forbidden Planet (1956) rip-off was no different, just another low-budget exploitation affair that used dodgy looking sets and bad actors, although Galaxy of Terror was a little different in that it sported a more elaborate production design and special effects than usual, and featured a young James Cameron as 2nd Unit director and co-production designer, as well as several familiar faces in the cast. It’s pure schlock-horror, but Galaxy of Terror possesses a certain je ne sais quoi.

Edward Albert as Cabren

Far in the future a hastily-assembled crew about the spaceship Quest heads into deep space on a rescue mission, dispatched to the dark, barren world of Morganthus by The Master. The spaceship Rebus lies stricken on the planet's desolate surface, pinned there by a powerful force-field which the crew discover is emanating from a vast alien pyramid. Strange and menacing things begin to occur. The rescue team finds the remains of the previous crew and is inexorably drawn toward, up and into the massive ancient monolithic structure. Their numbers begin to dwindle, as one by one they fall prey to nightmarish deaths. The survivors eventually succumb to the fulfillment of their destiny, and the awesome secret of the pyramid.

Erin Moran as Alluma

Originally titled MindWarp: An Infinity of Terror, a truly schlocky title if ever there was one, then Corman re-titled it Planet of Horrors (the best title), until finally, Galaxy of Terror (misleading, since the action takes place on a planet, not in space, and although fears are addressed, the movie deals more with visceral horror than anything else). Galaxy of Terror was Corman attempting to capitalize on the success (in fact his movies nearly always made a profit) of Battle Beyond the Stars, released the year before and one of his most expensive productions at $US2m. Galaxy of Terror apparently cost $700k (and more than likely would have re-couped all its costs fairly swiftly, despite the lambasting it got from critics

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House of the Dead

December 8th 2010 04:54

A group of teens arrive on an island for a rave, only to discover the island has been taken over by zombies. They try to survive the night. Uwe Boll’s House of the Dead (2003) is based on a Sega video game. It’s a $US7 million piece of crap - yup, they spent that much money on it - that sports some of the worst acting and dialogue I’ve yet seen and heard in a horror movie. I’d heard Boll’s movies’ were an acquired taste. Ha! Not really. More like running the movie gauntlet.

Jurgen Prochnow as Captain Kirk

I’m not going to waste too much of your time, nor mine for that matter. I have more interesting and important movies to watch and review, but I’ll admit I needed to see a Boll turd to make my own mind up. And trust me, I’m not going to attempt to polish it; House of the Dead may be considered by Boll aficionados as one of his better efforts, but if this undead entry is anything to go by, then the rest of his dreaded oeuvre can remain unwatched by these discerning eyes

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The Boogey Man

December 7th 2010 03:37

A young girl, Lacey (Suzanna Love) and her younger brother, Willy (Nicholas Love), spy on their mother making out with her lover. They’re caught and as punishment for being sneaky voyeurs the boyfriend ties Willy to his bed and gags him. A little later Lacey takes a kitchen knife and cuts her brother loose. Willy then creeps into his mother’s bedroom armed with the knife. Lacey witnesses her younger brother stab the lover to death through the reflection in a mirror. Twenty years later in a new home Lacey and Willy (who’s been a mute ever since the murder) remain haunted by the event. After reluctantly revisiting her old home in the company of her husband Lacey sees the spectre of the murdered man in the original bedroom mirror, and she shatters it in a moment of hysteria. An evil spirit has been freed and now it seeks revenge for the death of the lover.

Suzanna Love as Lacey

The Boogey Man (1980) did well upon its original release in America. Made for around $US300,000, but looking like it cost a quarter of that, the movie, inexplicably, has gone on to earn $35 million worldwide! How this inept piece of nightmare drivel has made such a profit is beyond me. It’s producer/director, Ulli Lommel, has had a curious career to say the least; having grown up and worked for legendary German auteur Rainer Werner Fassbinder, he was romantically linked with famous Danish actor Anna Karina, directed the controversial The Tenderness of Wolves (1973), which was voted “One of the 1,000 movies to change your life” by Time Out magazine, and which stormed Cannes, then he moved to New York City where he schmoozed with the Warhol crowd during the late 70s and early 80s and made more features. In 1980 he moved to Hollywood and made The Boogeyman (the title altered slightly for its American release).

Nicholas Love as Willy

Lacey and Willy as kids spying on mama and her lover

Since The Boogey Man Lommel has gone on to make another forty-two movies. Most from the last five years have been produced on video. Apparently he made seventeen (!) serial killer-themed movies in four years. The Boogey Man is my first Lommel. He’s regarded in horror circles as one of the worst directors ever to perpetuate a career. Only Uwe Boll can challenge Lommel in this category. I have yet to watch a Boll movie, but I will follow this up with one, purely for forced perspective. Apparently Lommel's The Tenderness of Wolves isn’t half bad; supposedly promising work from a director with a distinctive voice and vision. Lommel must have sold his soul to the devil a long time ago

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Red Hill

December 6th 2010 03:53

Patrick Hughes’ tribute to the movies where hell comes to town is a rollicking yarn full of character and promise. What it lacks in plausibility it makes up for in strong performances and an assured sense of direction. Red Hill (2010) is a modern Western that pulls no punches and slaps you square in the jaw. It’s a lean, mean fightin’ machine and works a treat if you go in with low expectations. I like Hughes’ filmmaking attitude; he couldn’t be arsed hanging around for the bigwigs to give him the green light so he went out and made his debut feature himself. Well, thereabouts. Hughes wrote, produced and directed, and also edited. Greg Mclean, the man behind Wolf Creek (2006, another essentially DIY gem), helped get financing, and serves as one of the executive producers.

Ryan Kwanten as Shane

Shane Cooper (Ryan Kwanten) is the city cop who’s moved to a small country town, Red Hill, with his pregnant wife Alice (Claire van der Boom) on doctor’s advice that a quiet settlement will hopefully guarantee them a baby, rather than a second miscarriage. But quiet is not what Cooper’s gonna get on his first day. First he has to deal with gruff Sheriff Old Bill (Steve Bisley), who reckons Cooper’s either looking for a cushy rural beat, or an quick easy promotion. But soon enough there’s more pressing matters. Jimmy Conway (Tommy Lewis), an Aboriginal ex-Red Hiller, has escaped prison and is heading back to settle a few scores. Old Bill is none-too-happy, and he rounds up the local boys to form a posse, ‘cos Jimmy Conway’s bringin’ hell with him.

Steve Bisley as Old Bill

Red Hill looks great. It was filmed on location in Omeo in the southern Australian state of Victoria, and cinematographer Tim Hudson does a superlative job. Red Hill is a town where everyone knows everyone’s business and the Sheriff is loathe to allow a damn Food and Wine Festival to barge on in so everyone can swan around sippin’ fuckin’ Pinot. Old Bill is proud of his turf, but it becomes apparent he, and several other of the local blokes, have got a few skeletons in the closet, and Jimmy Conway has come to rattle those bones something wicked. Shane may be a tad naïve, but he’s got the balls when push comes to shove. Mind you, it doesn’t help misplacing your firearm on your first morning at work. Old Bill takes that kind of irresponsibility personally, which leaves cuntstable Shane on the back foot and ripe for ridicule

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Machete

December 3rd 2010 05:48

You want ya burger with double cheese, drippin' wid ketchup and greasy fries? You got it! You want a thick shake with that too? Damn straight! And give it to me served by a chica naked as the day I was dumped into the world, and as hot and sweaty as my mama’s brow when she been cookin’ up burritos for the whole damn familia all afternoon. And I wanna ice cold cerveza too! A bucket full! Damn, and gimme a hit off that reefer, I dig my deep trash under the influence, I ain't no naco Sangrón ... ¡Chale!?

Danny Trejo as Machete

Robert Rodriquez throws caution to the wind, like a sombrero in a Chinook, and returns to the grindhouse fold to deliver what the fans were demanding; a feature-length movie about Machete, pronounced “Mah-chet-tay”, the vengeful Meh-he-can ex-federale out to do right by the crooks who did him wrong. Machete (2010), pronounced “Mah-shet-tee”, is a B-movie wearing all its charms and faults on its leather sleeve like a bandito with a thick moustache and bad breath. But still he pulls the chicas, still he makes you chortle, still he gives you the unbridled drive-in experience in the comfort of a cinema.

Jeff Fahey as Booth and Robert De Niro as McLaughlin

Machete (Danny Trejo) is on a mission to serve revenge cold as the snake coiling under his bed. Torres (Steven Segal) is the drug lord who’s dished him out some cruel and nasty beans, and Machete wants justice as bad as the bones in the prison cemetery. Slimey local businessman Booth (Jeff Fahey) coerces Machete into doing a number on corrupt senator McLaughlin (Robert De Niro), who has a no-tolerance attitude to illegal immigrants. But there’s dirty carpets ready to be pulled from under filthy feet.

Jessica Alba as Sartana

Machete is soon on the run, trying his darnedest to stay one boot ahead of his conspirators. He seeks the assistance of his wayward brother, Padre Cortez (Cheech Marin), and the sexy taco-slingin’ wannabe revolutionary Luz (Michelle Rodriguez, no relation). At the same time he’s fielding serious interest from Immigration and Customs Enforcement uber-agent Sartana (Jessica Alba). And not forgetting the much-needed interference from Booth’s freckled and voluptuous daughter April (Lindsay Lohan), who ends up donning a nun’s habit, for all the wrong reasons

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Devil

December 2nd 2010 00:19

Seems this diabolical supreme being is pretty bored because it surely hasn’t found better things to do with its time than play silly buggers with a bunch of ordinary folk in a lift, or should I say "hellevator". Thank Christ (no pun intended) Devil (2010) only lasts eighty minutes. As with pretty much all of Shyamalan’s movies, although it must be noted Devil wasn’t directed or scripted by him (although it smacks of everything he delivers as a writer/director), but it’s his story and he produced it. The director is John Erick Dowdle, who helmed the impressive [REC] (2007) remake Quarantine (2008), and the lame screenplay is by Brian Nelson. For horrorphiles Devil is not a wolf in sheep’s clothing by any stretch, but rather mutton dressed up as lamb.

It all starts with a suicide

An unnamed motley crew of sinners each enters a high-rise (street number 333) elevator in downtown Philadelphia (Shyamalan’s equivalent of Stephen King’s Castle Rock). We have an old woman (Jenny O’Hara), a young woman (Bojana Novakovic), a young man (Logan Marshall-Green), a suit (Geoffery Arend), and a security guard (Bokeem Woodbine). The lift breaks down and the crux of the story begins. Prior to the elevator problem a person committed suicide, jumping from the 35th floor. This apparently singles the arrival of the eponymous troublemaker. According to Ramirez (Jacob Vargas), a security guard who provides a voice-over relating a story told to him by his mother, the devil roams the earth seeking out sinners to take out.

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National Geographic: Vampire Forensics

November 30th 2010 07:17

The National Geographic Channel presents a double-feature of two specially-produced documentaries from 2006 which examine the mythology and legends and the historical and scientific truth behind vampirism. The first, Is it Real? Vampires concerns itself with the vampire itself and its place in history, in particular the effect of Bram Stoker’s novel Dracula and the hysteria and anxiety of the ages when unknown illnesses plagued both the rich and the poor. The second documentary, Vampires in Venice, focuses on the bubonic plague and tightens the forensic screw on the discovery of a peculiar skull located on the outskirts of Venice amongst a mass grave of hundreds of victims of the Black Death.

National Geographic: Vampire Forensics Vlad Dracul's castle

The castle of Vlad the Impaler in Romania

As with many of the documentaries put together by National Geographic, they pale against the superb calibre of the long-standing magazine, but they’re still beguiling, sometimes fascinating, even compelling on occasion. Both these docos labour on at around 45 minutes each, when they could have been a succinct half hour long. While Is it Real? Vampires attempts, and quite successful debunks any real truth about the existence of the blood-sucking undead ghouls, it does pose some curious questions about the need for such creatures in our popular consciousness.

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Monsters

November 23rd 2010 00:19

Before the media screening a few months back I knew next to nothing about this movie. Some guy called Gareth Edwards had directed it, and it was supposedly a hybrid romance-sf-horror. I’d glanced at part of the trailer online and that was it. I came out of the screening on a high, similar to the feeling I’d had coming out of District 9 (2009), not as exhilarated, but more emotionally-charged, and just as impressed. Monsters (2010) is not an action movie, although the thrust of the movie is movement, a journey. It’s not strictly a horror, but it features huge frightening alien creatures and the body count is in the thousands (though only a dozen or so are actually killed during the course of the movie). Monsters is, at its base demographic, a romance for boys, and a monster flick for girls, but even that short-sells the movie. Several other movies come to mind; District 9, Cloverfield (2008), and The Mist (2007). But so what? Watching it still feels like nothing you’ve seen before. Monsters may have its narrative and conceptual limitations, but as pure cinema, it’s awesome.

Scoot McNairy as Kaulder

Like District 9, there is an important back story premise; six years ago NASA sent a probe into the outer reaches of the solar system in search of extra-terrestrial life. Upon re-entry the probe broke up over Mexico (a popular region with aliens) and subsequently half of the country became locked down as an Infected Zone. Alien life forms emerged, and the Mexican and US governments have been struggling to contain the enormous creatures ever since. The best they can do is erect containment walls, provide warning signs, and maintain a vigilant air and ground patrol that involves regular annihilation, which of course causes a fairly significant amount of collateral damage.

Whitney Able as Sam

Scoot McNairy plays Kaulder, a young American photo journalist in Mexico trying to get the scoop of his career; photographing one of the creatures alive. These massive alien beasts look like an octopus on crab legs. They are primarily nocturnal and essentially non-aggressive, unless provoked, which is when they become very dangerous. Of course they’re being aggravated and attacked by humans all the time. Co-existence does not seem to be an option. The creatures have a mating migration season which involves laying eggs among the trees, which then hatch and the younglings retreat to the rivers and sea to grow, and then they return back to land (or something like that). The migration season has arrived early, and Kaulder is given a mission by his magnate boss: to chaperon his daughter, Sam (Whitney Able) safely back to the US. Kaulder has no choice. But fate intervenes, and their ferry option is scuttled. Instead they will have to travel on ground through the dangerous Infected Zone, since there is a no fly zone (apart from jet fighters

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Full Metal Jacket

November 19th 2010 00:49

The last great movie on the Vietnam War, Stanley Kubrick’s Full Metal Jacket (1987), was based on a novella called The Short-Timers by Gustav Hasford, and adapted for the screen by Kubrick and another novelist Michael Herr who wrote the seminal ‘Nam book Dispatches and provided Apocalypse Now (1979) with the brilliant narration voiced by Martin Sheen. Full Metal Jacket is a tour of duty following a platoon of young soldiers, barely out of their nappies, as they endure the rigors of boot camp under the furious command of Gunnery Sergeant Hartman (Lee Emery) on Parris Island, South Carolina, and then later in country during the Tet Offensive of ’68, Hue City, Vietnam. This is the experiences of the phony tough and the crazy brave in a world of shit, narrated by Joker (Matthew Modine), a marine who ends up on the frontline as a war correspondent for Stars & Stripes publication; “I wanted to see exotic Vietnam ... the crown jewel of Southeast Asia. I wanted to meet interesting and stimulating people of an ancient culture ... and kill them. I wanted to be the first kid on my block to get a confirmed kill!”

Matthew Modine as Joker

Full Metal Jacket is divided into two distinct halves; the first forty-five minutes depict the basic training of the recruits, preparing them for the hell that is first-hand combat. The first images are the young men having their long hair shorn off, a number one buzzcut. They are beaten down, both psychologically and physically, continually abused and belittled by the brutal Gny Sgt Hartford, who tags his trainees with nicknames, such as Joker, Cowboy (Arliss Howard), and Gomer Pyle (Vincent D’Onofrio). It is the overweight and inept Private Pyle who becomes the butt of Hartford’s calculated rage, and it steadily drives the poor soldier toward a Section 8, culminating in an act of crazed vengeance.

Lee Ermey as Sgt. Hartford

Kubrick hammers home the tedium of boot camp, the unrelenting routine of the marching, the obstacle courses, the cleaning, the punishing assault on the psyche in order to turn these once innocent and naïve young men into cold, efficient killers. From Hartford’s opening address to the recruits; “If you ladies leave my island, if you survive recruit training, you will be a weapon. You will be a minister of death praying for war. But until that day you are pukes. You are the lowest form of life on Earth. You are not even human, fucking beings. You are nothing but unorganized grabastic pieces of amphibian shit. Because I am hard you will not like me. But the more you hate me the more you will learn. I am hard but I am fair. There is no racial bigotry here. I do not look down on niggers, kikes, wops or greasers. Here you are all equally worthless. And my orders are to weed out all non-hackers who do not pack the gear to serve in my beloved Corps. Do you maggots understand that?”
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A Clockwork Orange

November 18th 2010 01:58

I read Anthony Burgess’s incendiary novel when I was at university and as gripping and powerful as it was it was also a chore to have to constantly flick back and forth to the glossary Burgess provided as an appendix in order to understand the vernacular and slang in which the story is written, which is called Nadsat (the Russian word for “teen(age)”) an amalgam of pidgin Russian, English and Cockney rhyming slang. When Stanley Kubrick made his infamous screen adaptation he retained the dialect in force, and kept his central character, Alex, as an adolescent still in school, but he is hardly fifteen (as he is in the novel); Malcolm McDowell was twenty-eight when he played the sociopathic anti-hero in Kurbick’s A Clockwork Orange (1971), yet the controversial intent remained the same: this is the tale of a young man whose principal interests are rape, ultra-violence and Beethoven.

Malcolm McDowell as Alex

Alex (surname DeLarge according to Alex, but Burgess according to newspaper clippings near movie's end) and his droogs (mates), Pete (Michael Tarn), Georgie (James Marcus), and Dim (Warren Clarke) are teenage delinquents. When they’re not hanging around the Korova milk bar sipping on the ‘plus’ drinks, Moloko drencrom, vellocet, or synthmesc, they’re creating mayhem and causing grievous bodily harm. Dressed like a hybrid of Teddy-boys, Mods and sharp clowns, they are the thorn in authority’s side, a blight on society, the ugly underbelly of a future Britain’s youth. As charismatic as Alex may be, he’s essentially arrogant, obnoxious, and aggressive. But he can’t evade the law forever, so during incarceration after being sentenced for murder he learns of a special new experimental procedure that may cure him and get him out of prison; Drs. Brodsky and Barnom’s Ludovico Technique.

The droogs in the Korova milk bar

Kubrick had been planning a biopic on the life of Napolean, but his financiers pulled the plug after the failure of another Bonaparte movie, Waterloo, so Kubrick was forced to shelve the project, and instead, after initial reluctance, was convinced by author Terry Southern, who gave him the Burgess book during the filming of Dr. Strangelove, to bring the uncompromising novel to the screen. The movie would prove to be as difficult in content, with Kubrick’s signature take-no-prisoners-approach to technique, as the novel, simply because the staunch director utilised so much of the novel’s inventive linguistics. It’s like Shakespeare on acid. With the book the reader can leisurely check the glossary, but with the movie the audience is forced to try and comprehend what on earth is being said, and unless you’re very familiar with the novel much of the movie’s dialogue sounds like gobbledygook. And therein lies The Rub

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The Machinist

November 15th 2010 23:21

Director Brad Anderson has had a curious career thus far; a couple of unremarkable romantic comedy-dramas, and then two wham-bam excellent nightmare thrillers; Session 9 (2001) and The Machinist (2004). He’s also directed episodes for some of the more acclaimed crime shows on television (The Wire, The Shield, Homicide, and most recently Boardwalk Empire). With both Session 9 and The Machinist Brad Anderson skillfully ratchets up the suspense and intrigue by delving into the paranoia, deception and corruption of the human mind … and the corrosive spike of guilt. The Machinist features Christian Bale in an astonishing performance of ghastly conviction and dedication.

Christian Bale as Trevor Resnik

Trevor Resnik (Bale) hasn’t slept in a year. But hell, nobody ever died from insomnia. Or so he likes to say. Resnik works in a Los Angeles factory as a lathe operator. His co-workers keep their distance suspecting his shockingly gaunt appearance to be the result of a hardcore drug addiction. But he’s always on time and gets the job done. Yet there is definitely a dark trouble hibernating deep within Resnik’s psyche. He gets comfort at the nearby airport departure lounge with a cup of joe and conversation with lovely Maria (Aitana Sánchez-Gijón), and with the nocturnal company of a jaded hooker, Stevie (Jennifer Jason Leigh, adding yet another thankless “used” support to her resume, yet she fills those shoes so well), who genuinely cares for him, but can’t pull him out of the dark pit he dwells in.

Jennifer Jason Leigh as Stevie

Resnik is being plagued by a deep-rooted anxiety over a strange man taunting and threatening his work and life. The man is called Ivan (John Sharian), and is apparently a co-worker, but Resnik can never get any straight answers. A nasty industrial accident occurs involving another co-worker, Miller (Michael Ironside), and Resnik is responsible, although he suspects he was set-up, thus fueling his resentment and paranoia. His reality is crumbling around him. Will he ever understand exactly what is causing him such grief and torment

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