Sayonara Cinema

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2007-06-21T11:09:00.001-07:00

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2007-06-04T07:48:00.000-07:00

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MOVIES AT MIDNIGHT

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JOINT SECURITY AREA Review

2007-03-14T17:10:00.000-07:00

Three days after a firefight that leaves two soldiers dead in the De-Militarized Zone that separates North Korea and South Korea, Sgt. Jean, a Korean who grew up in Switzerland and is now part of the Neutral Nations Security Council is sent to investigate and hopefully clear up a potentially devastating event. Within the DMZ, she meets survivors Sgt. Lee of the South and Sgt. Oh of the North. They both give RASHOMON-esque different tales of the events that transpired, and Jean realizes that she has a very tough job ahead of her. She begins to pour over the evidence for the truth, while the reality is that everyone just wants this brushed under the rug.

From here, time is flashbacked six months ago. Here it is learned that Lee and Oh, who both guard their nation's respective posts on opposite sides of a small river, have become friends, and secretly meet in the shadows of night as brothers and comrades. Along with them are North Korean soldier Jung and South Korean soldier Nam, who have joined in the intimate circle. They tell war stories, drink to unity, and in the wee hours, Korea becomes reunified once again. However, as the dates slip away, the unavoidable conflict comes closer and closer and the truth behind the events will finally be revealed.

Two years before director and writer Park Chan-Wook became an international name to be reckoned with upon the release of SYMPATHY FOR MR. VENGEANCE, this love letter to the people of the Korean peninsula became one of the highest grossing films for 2000. Even to Westerners, who may only have a fleeting knowledge of the two countries' history over the past fifty-odd years since it was divided in two, will be able to easily understand the pressure that is mounted on the main characters here. The closest hypothetical example that could be compared would be if two families on opposite sides of the Mason-Dixie line were to meet in the spirit of American brotherhood during the Civil War.

Through both symbolic cinematic framing, Park is able to convey how a simple line in the middle of the bridge can be a razor-sharp blade that has cut a country in two. Great pains are taken throughout the movie to show symmetric imagery, with half the screen representing the North and the other the South. And while it is obvious that the cut has been made, what is not always represented is which side is which. This is set up on purpose obviously, to show just how similar the two countries are, and that if they could only set aside their political differences, Korea could once again become whole.

Both Lee and Oh give monologues on brotherhood and how the same Korean blood runs through their veins. Lee presents gifts of music, sweets, and pornography to his Northern brethren, while Oh instills a sense of military honor and loyalty, and what it means to be a soldier that was somewhat lacking in Lee combat philosophy. The finest moment in JOINT SECURITY AREA, which wraps up the entire message of the film, is when a photograph is taken of the soldiers. They are in their respective uniforms, but have exchanged hats, and come closer and closer together within the frame until a photograph of Kim Jong-Il in the background is blocked by their heads. Let that image soak in for a moment.

Park Chan-Wook is not purely to thank for this message of ethnic unity. The conviction and professionalism of all the actors involved is what really sells the film. Lee Byung-Hun, who would later reunite with Park for his segment of THREE: EXTREMES, plays Sgt. Lee. Song Kang-Ho, who later takes of up the role of "Mr. Vengeance", is Sgt. Oh. Lee Young-Ae, would go on to take up the "Lady Vengeance" role, is Sgt. Jean. Together these three, who represent three factions of ideals, bring out emotional performances that verge on tear-jerking, as their characters attempt to deal with their ethnic division.

Even with the completion of the VENGEANCE TRILOGY and Park's now international recognition, JOINT SECURITY AREA seems to still elude the general populous as even existing. Though it appears that the film is available on Netflix, the film criminally has still not received a proper domestic release. Perhaps any potential distributor feels people will not be able to connect to the film? That foreign history and military policy will be too tough to understand? That the subtle and slight tinges against the American military within the film will turn off the viewer? It is a sad day indeed if these are the reasons to keep this film hidden away, for anyone with a heart and soul who is exposed to the film will find a connection, and be able to interpret the film's overriding message to coincide with basically any conflict they've dealt with, for it is conflict that paradoxly unites all humans.

GOING TO PIECES Review

2007-03-14T17:07:00.000-07:00

GOING TO PIECES (2006) Produced for the Starz cable channel, and based in part on the book, Going To Pieces: The Rise and Fall Of The Slasher Genre, 1978-1986 by Adam Rockoff, this is part Slasher 101 for those who have not waded very deep into these waters, and part Greatest Kills compilation for those who have been swimming here for a while.

The documentary kicks off with a look at the seminal proto-slasher, PSYCHO, and all the lavish praise it fully deserves. From there, it jumps forward to a dissection of HALLOWEEN and the template for modern horror that the film inadvertently created - teens in peril, a masked killer, POV shots, low-budget, creepy music. It flows smoothly into the release of FRIDAY THE 13th, and the stakes that film played on the 80's, from graphic gore (Tom Savini and his effects get some great screen time) to the "holiday" setting.

When FRIDAY THE 13th started to rake in the cash, it was a mere matter of months before a slew of knock-offs, cash-in's and sequels began to take hold in the early 80's. Films noted here include PROM NIGHT, SLEEPAWAY CAMP, HAPPY BIRTHDAY TO ME and MY BLOODY VALENTINE among countless others.

It is here that the documentary begins to take a look at the effect the slasher/horror genre had on society at the time, the misconceptions of what the genre meant and brought to the screen, and how the genre became another cog in the money-making machine that was go-go greedy 80's. Archival footage of Siskel & Ebert are shown as the two discuss the demerits of the genre, particularly in the way they believed the genre viewed women. They completely fail to notice how it is only women who seem capable of dispatching the antagonist, or that men seem to meet their maker much more often than women.

Much like music had to bow to the power of "Explicit Lyrics" by the power of uninformed moms, so too did the slasher film factory. When SILENT NIGHT DEADLY NIGHT began its marketing campaign, the killer, who is dressed as Santa Claus, is prominently promoted. Mothers took the streets picketing theatres and making calls demanding that the film be pulled, because of the harm it could do to the Santa Claus mythos. The marketing was quickly pulled, and the film was basically buried. It was a move that already marked the beginning of the end for the splatter and chaos that was flying across the screen.

By 1984, audiences were looking for something different. Enter Wes Craven, and his almost universally rejected and almost un-produced NIGHTMARE ON ELM STREET. Before this, films were set in familiar places to the viewer, be it camps, dorms or suburbia, but now it was your dreams that were not safe. The film was an smash, and kept the genre going for a few more great years.

All things must come to a close though, and as the 80 crept into its last years, so too did the slasher genre. The 80's was a decade of greed, and these low-budget features were the perfect product to churn out again and again. Sequels became retreads of previous material, the great icons were become tired and watered down, and merchandise was flooding the market. By 1991, when SILENCE OF THE LAMBS became a huge success and swept the Oscars, no one dared to label it a horror film, due to the stigma attached to the term. Instead, it was a psychological thriller. Nevermind the fact that the boiled down premise is a serial killer is murdering and skinning women, and eventually comes in contact with the film's heroine who stops him.

GOING TO PIECES finishes off with a look at SCREAM and its undeniable influence and revitalization on the horror genre. Again, imitators and cash-in films such as I KNOW WHAT YOU DID LAST SUMMER and URBAN LEGEND are looked at, as well as stars that are attached to the film. Before, horror was where new talent broke in to the industry and quickly shaked free of the genre, TV stars were now advancing into horror. The documentary finishes off with a glimpse into today's horror fans, the films that are flooding the market, and speculation as to where the genre is going next.

GOING TO PIECES is a slick, face-paced documentary that tries to cram too much into its 90 minute running time. Most diehard fans that may come across this will probably say in their head after each segment "What about...?" and they are right to do so. Had this been a multi-part mini-series that could take the time to really concentrate and flesh out each segment, it would have been more successful in its approach. The talent attached to this though, is what will really draw in the horror crowd here. John Carpenter, Wes Craven, Sean S. Cunningham, Tom Savini, Betsy Palmer, Felissa Rose (the "girl" from SLEEPAWAY CAMP), Rob Zombie and many others all make poignant commentary on the genre.

As mentioned before, GOING TO PIECES does not skimp on the clips. Half of this documentary is basically a highlights reel of incredible set-ups and kill scenes from all your favorite franchises and a few not-so-well known flicks. Starz is to be commended for not pulling any punches here, and showing some really graphic carnage. The only downside to this is that none of the clips are marked as to what movie they are from, so for instance if you happen to be intrigued by the girl being chainsawed in half and have not already seen PIECES, you would have no idea where it is from.

The final product here is a worthy rental for the entertaining interviews and to maybe catch a few film names that you may have either missed or dismissed, and may need to finally see for archival purposes. If you are a little unfamiliar with the genre, this is a good cheat-sheet to take notes from, so the next time your friends are talking about the double impaling in FRIDAY THE 13th Part 2, you can chime in about how it was stolen from BAY OF BLOOD. However, like many of the films it documents here, GOING TO PIECES is good for about one watch to fill some time on a Saturday night.

ATTACK OF THE BLIND DEAD Review

2007-03-14T16:59:00.000-07:00

500 years ago, the Templar Knights were finally captured by a small village, and had their eyes burned out so they could not find their way back from Hell before being put the stake. Every year since then, that village has since held a festival celebrating their victory. They have since let the Templars' pledge to return from the grave to seek revenge fad into myth and legend, save for the village idiot, Murdo. On the evening of the festivities, Murdo sacrifices a virgin, and uses her blood to finally bring the Templars back to life.

The Templars, shrouded in decaying cloaks and ride a herd of dead horses with their swords brandished, hunt only by the sound of their soon-to-be victims' screams. As the village is slaughtered by the dozens, a small group escape and barricade themselves in a church. But instead of fighting together, they individually try to escape, in hopes of leaving the others for the Templars, but soon find themselves surrounded by the decaying knights. And with daylight still hours away, who will stay alive long enough to see the sun rise again? The Mayor? The mother and child? Murdo? No one?!

This is the second film in Spanish director/writer Amando de Ossorio's Blind Dead cycle, which are each stand alone film and not interlinked save for the main antagonists. This film is known by several alternate titles, including RETURN OF THE BLIND DEAD and RETURN OF THE EVIL DEAD, both capitalizing on the first movie, 1971's TOMBS OF THE BLIND DEAD. De Ossorio's dead are different from the then new-found flesh-eating zombies that were the rage in America and the UK thanks to George A Romero. Here, the victims are not eaten and do not return to life, and the Templars', who are dry and brittle skeletal corpses with limited commuting skill and strategic plotting , main goal is either revenge or to collect virgin's blood in order to resurrect, depending on the movie being watched.

In this film, de Ossorio blends a mixture of gothic ghost-like atmosphere, using plenty of fog, shadows and a dream quality slow-motion when focusing on the horse-riding corpses, with brutal violence and exposed flesh that were become the staples of 70's horror. Most characters meet their end through close-up impalement that is does not hold back the red. There is also a familiarity here for zombie enthusiasts, as the final third of the film feels very reminiscent to NIGHT OF THE LIVING DEAD, and it is probably no coincidence that many of the characters here have a striking resemblance to the barricaded septet in Romero's masterpiece.

ATTACK OF THE BLIND DEAD (which is the original title translated to English) has been plagued by cuts edits for all of its releases here in the US. Even the claimed "uncut" laserdisc and original DVD releases were not the full Spanish version, but merely the uncut English language version, which omitted practically all of the gore and even crucial plot points (Murdo's virginal sacrifice was cut, leaving the viewers to make guesses as to why the Templars finally rise from the grave). Fortunately, sleaze aficionados Blue Underground finally put all that behind U.S zombie lovers everywhere in 2005. Their DVD release features both the Spanish and English versions, and present a fantastic print considering the age of the movie and the mistreatment it has received over the years.

De Ossorio's Blind Dead films, and this one in particular, while an interesting take on the living dead genre, still fall a little short to their American and Italian cousins. The film takes a little time to get moving, and even then plods along until the final third of the movie. Horror fans of all things "zombie" and sentimental suckers for 70's exploitation should not miss out on watching at least one of these films though for archival purposes at the very least. For passing fans this is not essential viewing, but having one of these movies under your belt will definitely help solidify your stature and worth at least a rental come next Dia De Los Muertos.

SHALL WE DANCE? Review

2007-03-12T18:20:00.000-07:00

SHALL WE DANCE? (1996) Sugiyama (Koji Yakusho, who may be recognized from his many roles in Kyoshi Kurasawa's recent horror films) is a salaryman who is dedicated to the ideals of Japanese society - career, family, material wealth - even at the cost of his own happiness. Every evening during his long commute, he sees a woman staring out a window of a dance studio. He feels drawn to her, and eventually makes the fateful decision to go to the dance studio.

Sugiyama, while devoted to his wife and daughter, feels a pull to meet Mai. And while at first his only intention was to see her, Sugiyama slowly succumbs to the joys of dancing. But Sugiyama is ashamed of his newfound love and hobby, and keeps it secret from his family and co-workers, save for Aoki, who he discovers is also a student at the studio. As an amateur dance competition grows near, Sugiyama doubles his efforts to perfect his steps in order to compete. The joy he finds in dancing helps Mai, who has become jaded to dancing to rediscover her passion for the art form as well. Meanwhile, Sugiyama's wife, who has noticed Sugiyama's aura of happiness, believes he is having an affair, and turns to an investigator to follow him.

Japan is a very morally and socially conservative nation, despite the opposite inclinations their entertainment exports may exude. Even social dancing, which is their catch-all term for ballroom and modern dance styles, is looked upon with distaste, and is believed to only be a hunting ground for lechers and perverts. Within the context of the film, social dancing becomes the stand-in variable for all activities and hobbies in Japan that are seen as less-than-fitting for the common Japanese man.

The common Japanese man. Here, the character Sugiyama practically embodies all of modern Japan and more importantly is a dissection of the salaryman (a term bestowed upon the rat-racing middle-management white-collar worker) who does everything that he is supposed and expected to do. Deviation from his strict daily routines are not tolerated and even personal enjoyment is basically out of the question. When he discovers dancing, he must hide this very personal part of him, while still dedicating himself to the learned steps and styles, as if it were an important skill.

Despite the social context that drifts along the entire storyline throughout the picture, at its heart it is a comedy, and goes to great lengths to keep a smile on your face. The supporting characters, who much like Sugiyama go through their own dynamic transitions in discovering themselves, provide some fantastic comedic moments. At the forefront of these is Aoki, Sugiyama's co-worker who also dances with him. He is obsessed with Latin style dancing, and can only dance when he has a chin-length wavy wig covering his otherwise shaved head. Much like Samson, he is powerless without his hair. Aoki also provides some philosophical advice and thoughts on what dancing means, which helps Sugiyama truly appreciate what he has discovered.

Masayuki Sao, the director and writer of the movie, treats his film very much like a long dance number accompanied by multi-tempo song. There are quick-steps, long sweeping movements, a climactic build-up, and a drawn out denouement . Sao's camerawork is very fluid and always seems to be moving around the action, pausing just enough to note the "dance move" just performed before moving on to the next. The entire production seems to be a very personal piece, drawn as much from Japanese culture in general as much as he draws from his own personal views of modern Japan.

Although the full version of the film which runs 136 minutes (there is an shortened version provided by Miramax, of course) may seem a little long and slow-paced for American audiences, Japanese audiences fully embraced this made-for-television film upon its broadcast. Critics also praised the movie, and it wound up completely dominating the Japanese Academy Awards in 1997, taking home all of the major categories with fourteen wins in all! It is really a wonderful film that much like a musical piece can be interpreted and examined in several ways based on the individual's experiences, and enjoyed by anyone with a melody in their heart that they must dance to.

KILL BABY KILL Review

2007-03-12T18:18:00.000-07:00

KILL BABY KILL (1966) After the death of a young woman in an isolated village in the early 20th Century, coroner Dr. Iswai is brought in by the inspector to do an autopsy, to try and determine if the death was suicide, accident, or homicide. Circumstantial evidence rules out suicide, but the townsfolk are terrified to speak about what has happened. The town's burgomeister intonates that the supernatural is involved, and that there is a conspiracy surrounded the local Villa Graps. After Dr. Iswai performs his autopsy, much to the towns' disapproval, he returns to the inn he is staying at, and witnesses a magic protection ritual performed on a young woman, who claims to have seen the ghost of the dead girl that haunts the village.

After seeing the sorcery performed, Dr. Iswai becomes obsessed with bringing logic and reason to a town he believes is merely by being crippled by poverty, ignorance and superstition. Meanwhile, the inspector has gone missing after taking a trip to Villa Graps, and Dr. Iswai follows in his footsteps to the crumbling mansion. It is there that he crosses paths with Melissa, a little blonde girl who seems to disappear before his very eyes. When he once again returns to the village, the story of about the little girl is finally revealed. And as the night slowly slips by, with death floating through the foggy air, Dr. Iswai soon discovers that not all things can be explained with science and reason.

Filled with classic imagery of gothic horror, from cobwebs to candelabras, and drenched in shadows and yellow light, KILL BABY KILL (originally released as Operazione Paura, which translates to Operation Fear) is made unique by director Mario Bava's use of color schemes and perpetually moving camera, which swirls around, pans and dollies through the scenes like an ghost, which is quite fitting for this picture. Bava also filmed mostly on location in several small Italian villages, which adds a level of creepy authenticity to the period piece, in that such places do exist, and such events could very well take place within the cracked and crumbling buildings.

Beyond the set-piece atmosphere, subtle practical effects play an important part generating and maintaining the uneasy mood that drifts along in the picture. Mario Bava's father, Eugenio, was a cinematographer and the father of Italian special effects. Mario, who worked for Eugenio before making a name for himself, uses the many secrets of the trade he learned as a cameraman to create the full array of effects that seep into all of the viewer's senses, from reverse photography to swinging cameras, and colored gels to warped glass. They are cheap, yet effective tricks that create a very unnerving feeling.

Giacomo Rossi-Stuart, whose long and lustrous career has taken him across all of Italy's trademark genres from spaghetti westerns to gialli, is right at home here in the lead role. His crisp and striking features, coupled with the character's modern suits, fits the bill perfectly as the supernatural skeptic as he is set against his co-stars dirty peasant-like appearance. As the film goes on, he subtly brings out a spectrum of emotional nuances as his logic begins to lose out, before going for broke in the final sequences.

Much like SLEEPY HOLLOW would do almost thirty-five years later, the story here pits a man whose heels are firmly dug into science and logic against a town where curses and the supernatural do exist, and it is hard to deny that this film had an effect on Tim Burton. Likewise, it is hard to deny that the story here, which was co-written by Bava, was influenced by 1963's THE HAUNTING. Indeed the first half of the film here is set-up with masterful ambiguity, so that it is quite unclear whether there is anything supernatural happening at all.

For those unfamiliar with Bava's work, KILL BABY KILL may be an ill-advised place to start. Despite the title, there is very little killing in the film, and despite the fantastic and grisly opening murder, almost no gore. Bava's more "accessible" BAY OF BLOOD or BLOOD AND BLACK LACE would be a good place to start, before returning to and appreciating this one. What this film does offer, however, is pure atmosphere that will have fans of ghost stories and slowly-unwinding plots sleeping with their lights on. Bava himself was a firm believer in ghosts, and his love of the supernatural permeates each oddly-angled scene and multi-layered image.

Whatever title you may know this film as, it is an important piece of cinematic history, and an influence of filmmakers from the last quarter century. Much of Bava's work was steeped in the supernatural and the unexplained, and among them this can easily be ranked as one of the highest. Bava made films that he would personally enjoy as a viewer, and thus was able to turn his movies into personal art pieces, regardless of the finance gain or loss. For that, he is truly to be respected and remembered as a filmmaker.

TOKYO DRIFTER Review

2006-12-28T19:26:00.000-08:00

TOKYO DRIFTER (1966)

Tetsu is a reformed gangster who is still loyal to his boss, Kurata. Kurata is in debt, and when the rival Otsuku gang attempts to swindle Kurata office building away from him, Tetsu attempts to be a middle man, but things go wrong and two people involved wind up dead. Tetsu decides to take the blame, leaving Kurata in the clear, and heads off to northern Japan to lure away suspicion. But Otsuku knows that Tetsu must die if he is to stay free, and sends his henchmen to kill him. Tetsu evades them, and heads to southern Japan, but Otsuku's connections are wide, and he is found once again. This time though, it is Kurata who betrays Tetsu and makes the call to kill him. When Tetsu learns of his boss' betrayal, he returns to Tokyo to see for himself, and prepares for one final showdown.

Mention the name of director Seijun Suzuki, the mastermind behind this jazzy crime-drama, and you will most likely either get a blank inquisitive look or hear lavish praise. The man is like Japanese version of Roy Lichtenstein or Andy Warhol, who uses pop as art and vice versa as he splashes bright colored sets and costumes, flashy (for the time) camerawork, and over-the-top melodrama across his silver screen canvas. Suzuki sees cinema differently then most do, but as a mere “hired gun” for Nikkatsu Studios, had to make due with slipping his unique ideas into his previous outings for them. These playful uses with light and with the characters did not go unnoticed, and for this picture he was commanded to play it straight. Instead he went even further than he did before.

In the world of TOKYO DRIFTER, the criminals wear red and blue suits that would not be uncommon in a Dick Tracy comic, and sunglasses that are never removed. Dance clubs, seedy dives, apartments and offices are all drench in color, not from paint, but from some mysterious and unknown light source, that change with the mood of the scene. In this world, not only does the actor who portrays Tetsu sing the haunting and melodic theme ballad, but the character Tetsu knows the theme, and hums it to himself incessantly. In this world, there is always someone who pops up at just the right moment to watch your back, whether it be just after the cuffs are slapped on, or in the middle of a brawl that takes place in, where else, but the Saloon Western, a bar styled with swinging doors, breakaway chairs, and burlesque dancers.

The opening and closing scenes of TOKYO DRIFTER are particular dissecting, which will help to note the depth that Suzuki intended, and that the color and style was meant to go beyond just 60’s bubblegum pop inspiration. The opening sequence is filmed in gritty black and white, still a staple in cinema at the time, especially for lower budget b-movies. But within this scene are two flashes of color, before bursting into the full-color title sequence, as if to say the film is shaking of traditional black and white convictions. In the final shootout in a club, literally everything is white (which is the color of death in Japanese culture), and Tetsu has also changed into a white suit, which portrays Tetsu as not only the death of his rivals, but also that Tetsu has accepted that he is figuratively dead as well, and now with no place to call home is doomed to wander forever.

Suzuki and writer Yasunori Kawauchi attempted to inject the dying yakuza code within its characters, allowing those that still followed honor, loyalty gratefulness and forgiveness the chance to live, while punishing those who would betray, scheme, and undermine with death, all hidden beneath what would become trademark stylings. However, Nikkatsu Studios didn’t see it that way when they were given a picture that they didn’t know how to market. Suzuki went on to make two more pictures for them, before being fired for ignoring the studio’s demands and continuing to make, in their words, incomprehensible movies. Incomprehensible? Hardly. It just took a few years for everyone to catch up with him.

THE UNTOLD STORY Review

2006-12-27T16:11:00.000-08:00

THE UNTOLD STORY (1993)

In Macau, the discovery of some severed limbs in the bay begin an investigation by the local inept police department. Through sheer luck, they discover clues that lead them to the Eight Immortals Restaurant, and the cook/owner Wong Chi-Hang (Anthony Wong). They believe that Wong may be guilty of killing the family, and when they discover the shred of evidence they need, they arrest him, and through unrelenting police beatings, Wong finally submits and tells his tale. But what he tells them, which includes the horrific murders of the family, and what he did with the bodies, is beyond anything they are prepared to hear.

Deftly mixing extreme gore, shocking brutality, the blackest of humor, and lowbrow comedy that can only come from Hong Kong, writer/director Herman Yau cooks up a dish that is the perfect recipe for cult status. Most shocking of all, though, is that the tale of Wong Chi-Hang is based on a true story, which Yau investigated extensively to stay as true to the real events as possible. With the then newly created "Category III" movie rating in Hong Kong (the equivalent of NC-17), Yau was able to push his shocks further than any director previously could, and portray Wong's psychopathic acts without much fear of censoring. The results could make the unsuspecting queasy, nauseous , disgusted, and maybe even all three at once.

Yau, though, in his wisdom, realized that these vile actions need to be balanced, and so he concocted a bumbling, moronic and sex-crazed police force to act as a relief. The result is a little jarring to those unaccustomed with the Hong Kong comedy style, but it does make the film a little easier to swallow (no pun intended) and does make for some great bits. Try to think Beavis, Butt-Head, Jim Carrey and John Belushi all trying to work together to catch Ted Bundy or Ed Gein. It is a blend that inconceivably works, as if this were the rule to crime-horror writing, rather than the exception.

Upon its release, THE UNTOLD STORY was taken quite seriously. While such a film would have been relegated to some obscure direct-to-DVD release if made in America, in Hong Kong it was given praise, and even netted Anthony Wong a Best Actor Award for 1994. His complete metamorphosis into the deranged killer is mesmerizing, and the cruelty his is able to conjure up, while over-the-top, seems natural amongst the unbelievable things that happens during the course of the film.

For the horror fans out there, the blood and guts delivered in here are enough for two films, and rest assured, realism is attempted as much as possible (pig flesh stood in for the human close-ups). This can really only be recommended for those that want to get a physical reaction out of your cinematic viewings, or for those whose taste in comedy is so twisted and demented that the likes of SEVEN and SILENCE OF THE LAMBS made you laugh. If even a little of this review has given you pause (it is even more disgusting than the review implies), skip this one and head on to the next. Don't feel bad about it. But for those of uneasily turned stomachs and seekers of the bizarre, see for yourself just what has been told. Rest assured, after viewing, you'll never forget what you've just witnessed. Oh, and you may never eat Chinese food again.

DOG SOLDIERS (2002)

2006-12-21T17:32:00.000-08:00

DOG SOLDIERS (2002)

In the highlands of Scotland, a small group of soldiers are on a routine training mission.  During their excursion through the woods, they come across a destroyed military camp, and only one man, Ryan, still barely alive.  As they begin to make their way through the woods, they are attacked by monstrous creatures, and only survive the ordeal when they come across a car driving on a nearby road.  They make it to a nearby farmhouse, and there they make their stand.   Megan, the woman who was driving, explains that what they are facing are indeed werewolves.  Although the men at first do not believe her, least of all Cooper (Kevin McKidd, best known as Tommy from TRAINSPOTTING), once the werewolves catch up and begin their systematic attack, they soon discover the truth of what they are facing.  And with six hours left till sunrise, no one may be live long enough to bring news that myth is indeed reality to the outside world.

 Here in the debut from Neil Marshall (who would go on to bring us THE DESCENT), werewolves get a very much needed vault into the 21st century, and British horror gets another notch on the damn cool branch.  Marshall's natural writing ability is on fine display here, and through the small talk and quips the soldiers have early in the film, their relationships are quickly set up, and you instantly care for them.  These are just regular blokes, who would rather be watching football (that's soccer to you Yankee wankers) than defending the Queen.  As the film transgresses into the claustrophobic horror and supernatural terror, they stay rooted firmly in reality, and react just as anyone probably would in their situation.  And if you've been using English slang ever since watching the aforementioned TRAINSPOTTING, you'll probably pick up a few new words for your arsenal after seeing this. 
 
 Marshall's direction is also spot on. He uses wide and full shots while outside, and then brings the camera closer in as the action becomes cramped and contained, which emphasizes the closed in feeling the characters are dealing with.  Even as the pace starts pumping, and the editing gets quicker, Marshall does not let the action become muddled.  The characters' whereabouts in the house, and what is happening, is always under control and you can keep track of everything that is going on.  Unlike many directors, he uses the editing to his advantage, and does not let it devolve into the flashy, shaky, one-cut-after-another style that is all too common now a days.
 
 Another breath of fresh air, and a sigh of relief, is that the werewolves are all physical special effects, and there are barely any CGI enhancement in the entire film.  Through a masterful combination of costumes and animatronics, the monstrous abominations are  brought to life, and look just like what a real wolfman would probably be.  They are vicious, remorseless, hungry, and tear their victims to pieces, and  the gore that follows is unapologetic, with the blood and guts literally pouring out and arterial sprays staining the walls red.   They also act as a pack (like real wolves), which is rarely used as an element in werewolf movies.  Here it gives a fresh new element to what is arguably a limited subgenre of horror, and creates new difficulties in dispatching them.     
 
 Neil Marshall has easily marked himself as a new name in horror that should be closely watched, and any projects that he becomes attached to should be savored as a delicacy served to the world of the silver screen.   On the cover of DOG SOLDIERS, JAWS, ALIENS and PREDATOR are used to entice the viewer to rent or buy a film that they otherwise might pass over.  The comparisons are justified, though the film stands without needing the crutch of another film. Perhaps in a few years, and if the horror community is lucky enough, Marshall's efforts will be added to the elite list of cover blurbs, and future debut films will use the likes of DOG SOLDIERS and THE DESCENT to promote them.

EQUILIBRIUM (2002)

2006-12-21T17:28:00.000-08:00

EQUILIBRIUM (2002)

In the 21st Century, in the aftermath of World War III, the leaders of world make the conclusion that mankind would not survive a fourth, and take the extreme measure of removing from man's life that might which provoke war - feelings, thought and emotion. A drug, Prozium, is invented to keep the masses at bay, and a new arm of the law, the Tetra Grammatron Clerics, is created to police sense crimes and destroy anything that might invoke said senses.

John Preston (Christian Bale) is a Senior Cleric, who follows his orders to the letter, kills those that are guilty of sense crimes without hesitation, and commands the destruction of anything illegal. That is, until one day when he accidentally breaks his daily dose of Prozium. That one missed dose is all it takes, and the sensory and emotional world he has fought so hard to destroy creeps into his mind. He begins a double life, continuing to be a Cleric by day, while seeking out the resistance that fights to bring down the controlling government at night. When he finally discovers the resistance leaders, they ask him to kill Father, the all-knowing, all-decision making head of the government, which will set off a chain reaction that will allow the resistance to take over. But with another Cleric already suspicious of Preston's activities, he may be arrested of sense crimes before he can start the coup d'etat.

The film's basic premise pulls from the themes and imagery from the great dystopian novels of the twentieth century, gladly borrowing from A Brave New World, Fahrenheit 451, and 1984, as well as the Nazi Germany's power of persuasion to bring the twenty-first century a new tale of science speculation and dystopia. Director and writer Kurt Wimmer has certainly done his homework, and spins a tale that, much like its inspirations, is just real enough and close enough, that it could happen if society lets it. Some of the more impressive nods Wimmer applies is the drug Prozium, a reference to A Brave New World's Soma, the burning of books and art a la 451,and the huge "big brother" video screens and the drab grayish uniforms of the common folk of 1984.  Anyone familiar with these novels or their film adaptations are bound to see more similarities.

Societal constrictions are not the only element that is given a sinister overhaul. Organized religion and devout faith are also given a good muckraking. From the head-figure dubbed Father (a synonym for God) to the Clerics who enforce the social religion with pain and death against those who do not conform, to the unwavering faith that everything is being done in best interest of mankind. To paraphrase from the movie "whether we agree on what the Father says is not the issue, but our willingness to obey and to have faith in him is".

Christian Bale, who is in almost every scene of the movie and easily carries the film, is exceptional as John Preston. Bale plays the duality of the role perfectly, and uses his face to express everything the character is about. At the beginning, he is rigid and emotionless. His face is a blank slate. Once free of the Prozium though, he switches gears and even as he continues to show that rigidness, his slight changes shows the pain of having to willingly suppress his new found freedom of emotion. Bale also performs most of the demanding action sequences himself. It would be hard to dismiss that this movie was one of the main contributors to Bale donning the cloak and cowl in BATMAN BEGINS.

In the film, the Clerics use a martial art called Gun Kata, a form created entirely by Kurt Wimmer that incorporates guns, both as a projectile and physical weapon, into hand-to-hand combat. This weaponplay is brought into the movie several times throughout and adds from some exciting action set pieces that gives the viewer a breather from the oppressive government overtones. And here is where the main fault, if it can be called that, of the movie lies. The movie is marketed very much as a super-action film, and those expecting just that could be easily turned off by the heavy messages that take up a bulk of the film. Likewise, those who may be lulled in by the dystopian tale could find the action sequences a little too brutal.

Dystopian futures are one of my favorite genres, and for some same reason that I like westerns, though the build up is quite different. In each, all it takes is for one individual to take a stand against that which they see as wrong, and not only having the courage and determination to make things right in the eyes of that character, but the ability to be able to see those changes through. It may not be the best way, and many innocent lives are usually lost during that struggle, but it is a price I would gladly pay.

MAD MAX (1979)

2006-12-21T17:18:00.000-08:00

MAD MAX (1979)

In the not-too-distant future, all Hell has broken out across Australia. Society is breaking down, the criminals and outlaws are getting more vicious, and the police in turn, must become even tougher. Of these officers, "Mad" Max (Mel Gibson in his leading actor debut) is the toughest. Dressed from head to toe in leather and padded armor, and driving a tricked out police car, no one can outrun him. Least of all is Nightrider, an outlaw who is part of The Toecutter's gang. When Max kills Nightrider on the road, Max and his friends becomes the target of the Toecutter's vengeance. After one of Max's friends is murdered, Max heads into the outback for some much needed vacation time, with his wife and baby. But close behind is the Toecutter, and if they push too far, they'll find out just how Max got his moniker.
In the late 70's, exploitation films that pushed the boundaries of what was acceptable in film were being churned out one after another. Although many of them became fodder for filling double-feature bills, a precious few were marked as something more, something powerful and raw. MAD MAX is amongst those films, and it is mostly in thanks to debut director and writer George Miller, for his anarchic vision of the future, and his DIY spirit that brought the film to life. Through death-defying camerawork (more on this in a moment), movie magic, pure adrenaline attitude, a few well used clichés, and the bleak wasteland backdrop of rural Australia, a terrible post-apocalyptic future is beautifully woven that is still just cool enough and habitable enough that you almost want to live there. And this is half of the makes this style of film memorable and successful.
The other half is having a character that you can route for and whose reinforced boots you want to be in. Stepping up to this challenge is a very young and still baby-faced Mel Gibson, who takes up the title role. The film follows Max as his last bits of humanity are slowly stripped away as he deals with balancing being in the most dangerous legal profession where ever second can mean life and death and raising a baby with his young wife, where every time they kiss goodbye could be the last time they see one another. Gibson handles what is notably some heavy emotions in an otherwise nitro-fueled action film. Gibson, with his limited acting experience at the time, does well enough, and perhaps a stronger actor could have handled the romantic scenes better. But when the film turns to the dark revenge sequences in the last reel, which are the most justified killings this side of the Punisher, Gibson's young features act as a stark contrast to the character's actions as Max's humanity is completely lost.
Mel Gibson aside, what this film delivers in spades is speed, speed, speed! George Miller sets up some incredible action sequences that will have any jaded chase sequence fan on the edge of their seats. You can almost feel the wind ripping across your face as the cars and motorcycle rip across the screen at 100+ kilometers per hour. Equal credit for this must go to cinematographer David Eggby, who put his life on the line multiple times during production to get as close to the vehicles and the asphalt as he could, and uses an almost documentary-style approach to bring the chases to life. What makes his work here the most appealing is that you do not see this kind of dangerous camerawork anymore, at least not without the aid of computers and digitized effects.
MAD MAX has gone on to collect a well-deserved following around the world, has helped to launch the career of Mel Gibson, and its low-cost production contains hints for upcoming directors short on cash, like if you don't have the money to buy a car to smash just use your own, pay your extras in beer, use nigh-abandoned factories for settings, use vinyl instead of leather for costumes, and if you want to give a lasting impression of gruesomeness don't show anything at all. Gibson, Miller and the rest of his crew would reteam for two sequel, THE ROAD WARRIOR and MAD MAX BEYOND THUNDERDOME. The three films create a long character arch for Max, as he loses, rediscovers and redeems his soul, and creates a much grander impression of the character than he was probably ever supposed to get. Here though, you'll just see him mad and burning to get even, so grab an oil can of Fosters, rev that engine into the red, and get ready to burn some rubber!

BAY OF BLOOD (1971)

2006-12-21T17:13:00.000-08:00

BAY OF BLOOD (1971)

On a grand estate on a bay, an elderly woman is clinging desperately to the land so that it will not be bought and turned into a resort. However, her murder sets off a chain reaction that brings all of the potential heirs to the estate out of the woodwork, and more disturbing, an unknown killer who begins to systematically murder each of these heirs. The situation takes another turn for the worse when a group of teenagers decide to trespass on the estate, and are quickly targeted by a killer who knows no remorse, sympathy, or limits to their cruel imagination for slaughtering their next victim.

In 1970's Italy, the murder-mystery, also known as a giallo, was coming into its golden age, soaking the screen in blood, filling it with red herrings and sleazy sexuality, and generally confusing the hell out of the audiences with complicated plots. But when famed director and writer Mario Bava brought BAY OF BLOOD to the screen, it was like nothing anyone had seen before. Starting off from a generic storyline that could be found in any run-of-the-mill giallo, Bava quickly amps everything up, from the almost insane weaving of all the characters' relationships, to the one-after-another murders that are each committed in a more horrific way, to the gratuitous and graphic sex and nudity.

This film has become known as the very first official slasher film, and is (or at least should be) the water mark to compare all other films that compete for the slasher subgenre label. In America, it can be debated whether BLACK CHRISTMAS or HALLOWEEN was really the first US slasher film, though both owe all their screen credit to Bava's masterpiece. The early FRIDAY THE 13TH films in particular pull from this work, right down to first-person POV to some of the signature murders in the series. For better or worse (and for most fans it is probably the better), due to BAY OF BLOOD, sex and violence will always be married in the slasher genre.

It is not just that the film is the very first slasher, but also that it is a great slasher, and can still to this day hold up against any would be film adversary. The groundbreaking murder sequences within the film alone still make the film worth seeking out, even if you are passive fan of the genre. The make-up special effects, helmed by Carlo Rambaldi (who would later work on E.T. and ALIEN among others) can still hold up today, which is testament to their realism. It is truly a crime that as the years pass, this film has become more obscure, fallen off the "must see" lists of some horror stalwarts, and may even be unknown to younger and newer faces to the horror scene.

This was the second to last film that Mario Bava made, and it is a culmination of a lifetime of work. Even though the final picture can be boiled down to a horror shocker, each of the film's individual parts are given the respect and professionalism that would be seen in a high art or dramatic picture. Bava has always been known as one who uses color to manipulate and enhance his films, and it is no exception here. The music plays a critical part in setting moods and building up suspense. Bava's camerawork pulls from the well established "unknown killer" motifs and makes them his own, which sets the stage for future directors and cinematographers to mutate to their own needs.

Any horror fan owes it to themselves to give this film, and Mario Bava, the full credit and respect that it deserves, and that even if it doesn't become a permanent part of your home collection, that it is seen at least once for historical purposes. When watching this, try to keep in mind when it was made, and that practically no one had done anything like this before. And guaranteed, no one will see the ending coming, nor has anyone had the balls since to make an ending quite like BAY OF BLOOD. That alone is worth the price of admission. The couple being double-impaled on the bed while having sex is just icing on the bloody cake.

Transformers The (Live Action) Movie Trailer Thoughts

2006-12-21T17:12:00.000-08:00

Prepare yourself for the psychotic views of Angry Geek.

For months I have watched and waited patiently in the darkness. I saw the production sketches, I saw the leaked photos, and reserved judgment until I could see the full length trailer which you can see here:

http://uk.promotions.yahoo.com/transformers/

I would like to take the opportunity to now say..

FUCK YOU MICHAEL BAY. And dare I say it, FUCK YOU SPEILBERG.

This is *not* a Transformers (capital "T" and trademarked) movie. This is a movie about giant transforming robots (note the lower case letters). Now, I understand that some minor changes would need to be made like car license issues and having to use new cars for a 21st century audience. I can live with some of the vehicle modifications. But their robot forms?! Transformers are not insectoids (well, the Insecticons are). Transfomers are not lanky. Tranformers do not look like T-800 endo-skeletons with a few car parts attached.

I would like to take this moment now to say that the trailer does look cool, even if it does feature classic Michael Bay style editing, where he can't hold on a shot for more than two seconds, and you can't tell what the fuck is going on. You can not get much better than giant transforming robots (again note the lower case letters) smashing their way across America. I freely admit this. But what they have done to Transfomers is a travesity. This dude does not abide. Hollywood had one chance to make a faithful, live-action "generation one" Transformers movie. And from the look of things, they completely fucked it all to Hell. Alpha Trion is *not* pleased.

There is only one TRANSFORMERS THE MOVIE. It is animated, came out in 1986, and had the guts to murder an icon to children worldwide to make room for the next line of toys. I doubt that Bay and his cronies have the cajones to do that in what is probably being looked at as a franchise situation.

Will I see "Michael Bay's Transformers"? Yes. Does this make me a hypocrite? Probably. Will I pay to see it? They're getting no more than a rental fee out of me. Will I enjoy it for its brutal robot fighting action, mindless destruction, and what I pray is a high human death toll? Hell yes. Will I cringe each time they use the names Optimus Prime, Bumbleebee, Megatron, Starscream, etc? You better fucking believe I will.

This has been a message from your friendly neighborhood psychotic Angry Geek.

NEAR DARK (1987)

2006-12-20T08:34:00.000-08:00

NEAR DARK (1987)

Caleb is just your average midwest town boy, who cares for his family, and likes to ride horses. But after an evening of hanging out with Mae, a shy young woman he meets while hanging out, he is indoctrinated against his will into Mae’s “family”, a dirty nomadic band of vampires.  Caleb tries multiple times to escape the nightmare from which he can’t wake up, and begins to feel a new, but very natural instinct within  himself, to feed.  Eventually, Caleb escapes into the darkness, but is swiftly followed by his vengeful co-blooddrinkers.  He knows he must make a stand, alone, or his family may be the next to fall victim to the ravenous neckbiters.
This is one of the crown jewels in the overlooked list of 80’s horror, that due to poor advertising and genre-defying storyline, fell to the side to make room for unending franchise sequels and generic slasher rip-offs.  Here, the vampire mythos is turned completely on its head, and remains to this day a unique entry in the genre.  In NEAR DARK these “nightwalkers” do not call themselves vampires (the word itself is never even mentioned in the film), are not aristocratic, do not have fangs or fly, and more-so do not even enjoy being what they are.  These are “cursed” souls doomed to live forever, and have taken a nasty turn to violence and cruel humor to pass their evenings.
Director and writer Kathryn Bigelow (who would go on to bring the action-goers POINT BREAK and the nigh-perfect STRANGE DAYS) brings a modern blend of horror and western symbolism and mythology  to the screen, and shrouds it in shadows, blue-washed light, and crimson red.  Even with her limited behind-the-camera experience, Bigelow is able to pull off just the right angles, framing and pacing that keep the film exciting and moving along. The writing is a little over-the-top at times, but in the quieter and subtle conversations, lies more character development and backstory than most films can hope to accomplish in their 100-minute running times.
Much like a pop-punk song right out of the 80’s, NEAR DARK has a tremendously enjoyable flux between chaotic and noisy choruses (the action pieces), and soft and melodic verses (the story).  Bigelow cuts her teeth on just about every action style, which she would later incorporate into later productions.  Between a holed-up hotel shootout (with some inventive ideas that would later be seen in FROM DUSK TILL DAWN), car and foot chases, and tense one-on-one stand-offs, there is a little something for everyone.
Adrian Pasder takes on the role of Caleb, and does a decent job portraying a newly-turned vampire, as does Jenny Wright as the shy and sweet Mae.  The real fun though, is watching Lance Henriksen, Bill Paxton and Jennette Goldstein, fresh off their stint on James Cameron’s ALIENS.  All three of them relish in their vampire roles, and the friendship the actors created on ALIENS shines through in their characters’ friendship here. You can almost sense the rich bonds between them.  Henriksen’s Jesse Hooker is the leader, and his longevity as a creature has brought about a wisdom that can only be cultivated from centuries of living.  Paxton’s Severin is a loose cannon, who still languishes in his power of humans. Goldstein’s Diamondback is a cunning thinker, and something of a den mother within the group.  And while the scenerio may be somewhat far-fetched, each of them portray their characters with total sincerity.
Although failing at the box office, NEAR DARK has gone on to collect a dedicated following through the years in the home video and DVD circuit.  It is one of the more unique releases from the 80’s, and through some impressive practical special effects work on a low-end budget it has aged quite gracefully, and has avoided being trapped in the constriction that is known as “80’s horror”.  Sadly, as with many films that have enough of a cult following to make the name marketable, but not well-known enough to leave it be, a remake is planned for this in 2008.  No word has been set as to how faithful the adaptation will be, or who is attached, but it is coming.  Fortunately a lovingly put together DVD is currently available from Anchor Bay that gives the film the justice it is due. 

DJANGO (1966) Review

2006-12-19T15:40:00.000-08:00

DJANGO (1966)

When Django, a lone gunslinger who drags a coffin behind him, rescues a woman from being attacked by bandits, he sets himself up at odds with the merciless desperados. After the encounter, he wanders into a desolate, dirty, and muddy town that can only be describe as physically looking like Hell on earth. He soon discovers that the bandits he previously encountered also have the town under their thumb, and Django acts in the only way he can - with a gravely-voiced wit and violence. The townspeople, in a strange turn of events, try to stop Django from saving them, but his mind has been made up, and even if it means killing every bandit and allowing innocents to die in the crossfire, he will accomplish his goal.

In the wake of A FISTFUL OF DOLLARS, the European movie market became a monster with an insatiable appetite for spaghetti westerns. Production companies were spitting out rip-offs of Sergio Leone's work as fast as they could get the film negatives processed. Then, a director named Sergio Corbucci set off to Spain with a young actor named Franco Nero who would play the title character, and brought back to his homeland of Italy a spaghetti western that would completely change the expectations of the sub-genre.

At its heart, DJANGO is nothing more than another rip-off of A FISTFUL OF DOLLARS (and thus a remake/rip-off of Kurosawa's YOJIMBO), as a lone wanderer happens into a corrupted town, through trickery and bloodshed kills the oppressors, and then wanders off again. However, what makes DJANGO stand out is its much darker tone, a gritty style that is as much a product of the film stock as it is the actual sets and characters, and the shocking graphic violence for the time. Innocents are brutally gunned down, a hapless ear is sliced off, and in a grueling sequence Django's hands are trampled and crushed by horses.

Franco Nero, whose performance would create an iconic character symbolic of spaghetti westerns, may just be rehashing the stoic and squinting Man With No Name previously brought to the screen by Clint Eastwood, but there is something about the way he does rehash it that makes him a more "dangerous" character. While the Man With No Name may have tried to act hard, he was a hero and just at heart. Here, Django's vision of good deeds, heroics, and bravado are twisted and skewed, and even cowardly. Perhaps it is these elements that caught the public's eye, and caused what can only be described as an insane amount of unofficial sequels featuring the character of Django (none actually played by Franco Nero) and even more spaghetti westerns being rechristened with the Django moniker depending on where they would be exported, even if Django wasn't even in the movie! Nero would make one official sequel, 1987's DJANGO STRIKES AGAIN, which also starred Donald Pleasence.

Corbucci, who also wrote the story and screenplay, brings several crucial, genre defining sequences to the screen in DJANGO, which have been stolen, reused countless times since. Those include the sequence in which Django faces off against the entire group of bandits armed with a machine gun, a heartwrenching sequence featuring quicksand, and the all-important final shoot-out, where Django coaxes the bandit leader into a graveyard. This scene in particular is symbolic of where Django feels most comfortable, and his acceptance of death as both an ally and enemy. This downbeat embrace of death is also an element that would make DJANGO stand out against its cookie-cutter competition.

In America, save for the die-hard and dedicated fans, spaghetti westerns basically begin with and end with Sergio Leone's output. And agreeably, for the casual fan this is enough as Leone's work morphed the sub-genre to what we know it and remember it as today, and has unequivocally defined it major themes, character arcs and storylines. For the adventurous and curious western fan though, DJANGO is an excellent place to start diving into the rich and abundant amount of films that were churned out in the heyday of the spaghetti western.