Deadgirl is fucked up, at least conceptually. In terms of execution,… MoreDeadgirl is fucked up, at least conceptually. In terms of execution, it doesn't really take any chances. Two horny, beer loving, but less than alpha-male friends find a girl in an abandoned hospital who seems like she can't be killed. In other words, she's a zombie, but they don't know it. JT, one of the boys, decides this girl is the perfect version of a sex toy, and pretty much spends all his time having some depraved but naughty fun.
Rickie is bent on impressing his childhood crush, who is dating one of the boys who bullies him. He doesn't agree with JT, but is soon caught in between.
There's a lot of opportunity here for a movie that could probably tackle interesting issues like women as objects of desire, sexual attraction, teen isolation. Nope. It does none of those. It goes for the gore, but then forgets to go all the way with its concept.
Thus, you're left with a film that is predictable and lifeless. It ends up being just another ordinary zombie film, which is a shame because it's trying to be everything else but that.
Similar to what Moon did for Sam Rockwell, Locke primarily exists to… MoreSimilar to what Moon did for Sam Rockwell, Locke primarily exists to prove Tom Hardy is fully capable of carrying a feature film on his own. And it's his best performance yet (yes, even better than Bane).
Written and directed by Steven Knight (Eastern Promises), the film follows Ivan on the biggest night of his career. He's about to complete a multi-million dollar deal. His wife and sons are expecting him home to watch the big soccer match. But an unexpected phone call takes him away from all this, and we watch his life crumble as he drives to his new destination.
The film is a character study that suggests Locke's decisions in the film can be directly traced back to his experiences growing up. It explores the life he had, has, and will probably have moving past the end credits. It is 85 minutes, told in real time, and takes place in the interior of Ivan's car. You could say we are....locked....in a single perspective.
I can definitely see Locke failing to connect with a lot of people. But I can also see it being a highly engrossing experience for those willing to engage themselves in the story.
[Rec] 4: Apocalypse exists as an obligatory conclusion to the series.… More[Rec] 4: Apocalypse exists as an obligatory conclusion to the series. The film takes place on a ship where scientists have been working on a cure for the virus through testing lab monkeys. Little do they know that they have the only hope for a cure in Medeiros, who has possessed Angela.
The kills celebrate gore in Grand Guignol fashion. If you enjoyed Clara wielding a chainsaw, wait till you see what Angela does with a boat motor. It's the movie equivalent of a Left 4 Dead session.
Like the previous installment, this is not [Rec]. I get that director Jaume Balaguero wants to try something different. But he's just going through the motions. You never get a sense of claustrophobia even though the ship is stranded in the middle of nowhere. You pretty much know who will die and who will make it out. All the characters seem lifted straight out of other movies. And the final scene is so stupid it will have you rolling your eyes. If you like formulaic action thrillers, you'll enjoy [Rec] 4. If you want more [Rec] 1 or 2, this is not for you.
[Rec] 3: Genesis will appeal more to fans of grindhouse horror more so… More[Rec] 3: Genesis will appeal more to fans of grindhouse horror more so than fans of the first two [Rec] films.
The reason for this is because director Paco Plaza has completely changed the tone. He eschews the found footage style 30 minutes in for the more traditional aesthetic. Where its predecessors relied on atmosphere, this one relies on gore. Where the first two films built fear and suspense, [Rec] 3 offers B-movie action, humour, and romance. It does tie in with the previous two, but it also introduces completely new characters.
I liked the main wedding couple, Koldo and Clara. I cheered when Clara gets fed up with her wedding party guests attacking her as zombies and whips out the chainsaw in her dress. I love how Koldo frantically searches for Clara dressed as a knight in shining armor (the metal protects him from bites).
It certainly has its moments as mindless bloody fun. But for a franchise that was so legitimately scary, this feels like a step back, as its really a [Rec] film in name only.
[Rec] 2 is awesome! It picks up literally right after [Rec] left off.… More[Rec] 2 is awesome! It picks up literally right after [Rec] left off. The focus is on a SWAT team going into the apartment to help an official get what he needs to end the quarantine, as well as rescue any survivors. The original [Rec] left us with the notion that the virus was started because of occult practices. In [Rec] 2, that idea is played on in great detail.
The action feels bigger as well. Instead of one camera, each SWAT member is equipped with a camera on their helmet, and the action cuts in between them. This is a brilliant decision, because it allows the film to feel bigger while keeping the concept the same.
Loose ends from the first are tied up as well. We find out what happened to the journalist from the first film, and we get to see the origin of Medeiros' powers.
[Rec] 2 is the sequel that does justice to [Rec] while taking the series in a whole new direction. No small feat, since I consider [Rec] to be one of the best horror films ever made! [Rec] 2 is filled with suspense, and some of the scariest scenes I've seen in a long time.
Suspenseful, intense, scary, and gory, [Rec] is without a doubt one of… MoreSuspenseful, intense, scary, and gory, [Rec] is without a doubt one of the best Horror movies of the past decade, if not of all time.
2007 had not seen a whole lot of found footage movies, so this style was relatively new, and it's yet to have been done better. We follow a young reporter and her cameraman (who represents us) as they become unwillingly quarantined in an apartment with its residents. An outbreak is turning those infected into zombies (a term never used).
This film creates the "you are there" experience like nothing you have seen or will see before. Nothing feels staged. The scariest moments are things that are happening in the frame but not front and centre.
As the story slowly gets revealed, you get more unnerved. There are brilliant and terrifying scenes that will stay with you for days.
There is definitely a great psychological thriller buried in House at… MoreThere is definitely a great psychological thriller buried in House at the End of the Street. Unfortunately, the version that is available completely lacks any kind of suspense. Some plot twists are kind of ingenious while others are way too predictable. Leaving nothing to the imagination and eager to tie things together in a nice crowd pleasing manner, the film is only slightly elevated by Jennifer Lawrence, who is way too good for this material.
While Lawrence does bring some depth to her character, you won't care for anything that happens, and the clumsily executed mystery will have a tendency to bore rather than unnerve. Hitchcock would not be proud.
You will be hard pressed to find a more disturbing thriller this year.… MoreYou will be hard pressed to find a more disturbing thriller this year. Compliance is a harrowing experience, made all the more stressful when you see the terrible way these characters behave thinking the law is on their side.
The film is ultimately a testament not just to our inability to question authority but our unwillingness to. We the audience sit helplessly as we watch a young woman humiliated by people who are supposed to be her friends, all in the name of compliance to what they think is a police officer.
This film explores the dark side of humanity in a way that few films have. It does it with minimal locations and a phone. When the credits rolled I couldn't believe this was based on a true story. Then I looked up the actual case this film was based on. Imagine my surprise when I discovered that the events happened exactly as they were told in the film, and how unsettling it is to know that it happened 70 different times and that the perpetrator was acquitted.
The story of Hercules has graced us many times in numerous… MoreThe story of Hercules has graced us many times in numerous incarnations. Renny Harlin's latest turkey, The Legend of Hercules, is the myth told in the most lifeless and uninteresting way possible.
Sets look cheap. Costumes look put together from discount surplus attire. Actors don't act; they yell; all the time; every line - it's like high school kids performing bad Shakespeare without microphones. Granted, their performances are clearly the fault of the director.
Everything in this movie is a cliché, from the opening "prophecy" to the final siege in the middle of a thunderstorm set to booming Hans Zimmer-esque music. I don't understand why anyone bothered trying to make this movie and I can't fathom anyone being remotely interested in seeing it.
Rian Johnson's Looper is astonishing. It creates a unique time travel… MoreRian Johnson's Looper is astonishing. It creates a unique time travel scenario, and is mostly consistent with the rules it lays out for itself. The action is great; the suspense is gripping, and all the actors do amazing jobs at playing lonely, grief-stricken characters. One of the most interesting aspects of this movie is how it questions notions of predestination and fate. Can someone really be held countable for crimes they have not yet committed, or could they become different people given a change of circumstance? Looper isn't shy about getting you to think. It's primed to blow your mind visually and logically.