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Reviews
Wolf Creek (2005)
Rejoice!
Remember when you first experienced The Texas Chainsaw Massacre? The Last House on the Left? Friday the 13th? The Hills Have Eyes? The originals, not the remakes. Sure the story remains the same, but the retreads seem to have something that is missing... the atmosphere. The ever looming fear of impending doom that lies around the corner. And what made it even more threatening? Is that it seemed like that could actually happen! Give credit due to the documentary feel of the cinematography, or credit it to the budget leaving gloss on the back burner and having to settle on used film-stock. Or to the true independent style and methodical acting of the amateurs. Faces we have not seen before in celluloid giving an authenticity to the audience. That type of horror had vanished over the years due to the corruption of the youth and banning and boycotting from the extreme violent nature of the films (even though it is more credited to the atmosphere than actual bloodshed on the screen). Fast forward some years and watch Wolf Creek. Be transported to that era. This film establishes character and atmosphere, and gives one of the most memorable and charismatic villains in the genre in John Jarrett! He not only makes you like him, you begin to root for him to kill the 3 hitchhikers! Watch in glee (or in terror), and see how Jarrett gives a new take for Shrimp on the Barbie. Wolf Creek is an uneasy viewing experience punctuated by the final revelation (Jarrett again! This man is a demented genius), which needs to be seen. So pop a bag of popcorn and pop in the movie; see how much of that popcorn ends up in your mouth and how much is on the floor.
Be Cool (2005)
Be Warned...
Get Shorty this is not. The fact that the book was not an impressive sequel either sort of squashes the fact that the movie is a faithful adaptation of sub-par material. Travolta as Chilli Palmer in the original only helped solidify his 'comeback' that started with Pulp Fiction. Travolta reprising his role as Chilli Palmer is going back to the well one too many times, as is his teaming up with Uma Thurman. For those that wanted to know what it would've been like if Vincent Vega ever got with Mia Wallace needs to look no further than this movie, because in the alternate universe this is what would happen. And not that this is really Travolta, Thurman, or even Elmore Leonard's faults... the fault here is too many characters occupying too much space in limited time. The Good: The Rock as the aspiring homosexual actor/ bodyguard who steals the show from the more seasoned vets. Andre Benjamin, also the other non-seasoned actor, gets some nice quips when squaring against Travolta and Cedric the Entertainer. The late Robert Pastorelli provides the funniest line in the movie, 'What is it with f***ots and bright shiny red things?!'. The Bad: chemistry, none between Travolta and Thurman. Harvey Keitel channeling his inner-DeNiro parodying himself. F. Gary Gray stepping out of his usual style and seemingly putting together a job-for-hire film. The Ugly: Vince Vaughn doing the same spiel he's done in Swingers, Made, Wedding Crashers, Old School, etc. Christina Milan, her music in the movie doesn't sound like a hit and her performing with Aerosmith at the end is straight Swiss Cheeseball. Steven Tyler playing Steven Tyler and not succeeding at that. The lost focus that this is supposed to be Chilli Palmer's movie but is pulled in too many directions that it stretches it's short running time into what seems like an epic, when all it needed to be was smaller in the beginning.
Odds Against Tomorrow (1959)
The final noir film!
While many have stated that Orson Welles's Touch of Evil is the final film noir, or first neo-noir, the same can be said for this film. A true hidden gem that was directed by the vastly underrated, and versatile, Robert Wise. The black and white images are actually punctuated by the two main characters, Robert Ryan (excellant!) and Harry Bellafonte (excellant as well!). As this film can border the old school noir, it also walks the thin line of the neo-noir. Race is a very intrigual part of this film and though themes of it were evident in Touch of Evil, here it is in your face like the afternoon school bully. Ryan, as much of a professional as he is, can not seem to get over the fact that one of his partners in his latest job is a black man. Bellafonte's character is not only a highly recommended professional capable of being Ryan's peer, but he is also dating a white woman! This was also before the subject was put in motion by Guess Who's Coming to Dinner?. But race relations aside, this movie has the typical noir characteristics of: black and white cinematography, crime, criminals knowing that this may be their demise, love that will not last, greed, and double crosses. But like Touch of Evil as well, this makes good use of being a genre defining desert noir that I have commented on before. The final scene is just as literal as James Cagney's farewell in White Heat and on par as the final punctuation as the fore-mentioned film. Seek out on: video, DVD, TV, TiVo, whatever and see how this movie not only ended one genre and started another, but also see how this film could've been considered one of the catalyst films that might've sparked the Civil Rights movement (another thing that Bellafonte was involved in as well; this guy has his hands in every pie).
Bug (2006)
Stop being misled...
You have to love advertising reps, or at least the studios should LOVE this firm that put together the advertising for this film! Watch the trailers and get excited about the possible intensity that erupt from this film... Ashley Judd is infected with bugs in her skin! WOW!!! I'm getting chills! William Freidkin of The Exorcist fame is at the helm directing! WOW!!! Issolation, paranoia, and possible gore! Where do I purchase my ticket? Purchase away I did and wasted 2 hours of my life I did as a result. This film is based on a play of the same name and written by the same author. Some plays might work on stage but do not translate well to film and this is one of them. Special Effects should never be the main point of a film, but they are a nice welcomed addition, and this film avoided any of that. Stop reading now if you don't want to be SPOILED but there is no bugs. None. Zero. Zip. Zilch. Nada. Void. The film takes place in a desert town (desert noir strikes again!) and paranoia sets in as Judd's abusive ex-husband has been set free from jail and is in search of her. In the mean time, she is introduced to a quiet stranger and begins to become intrigued by his mysterious demeanor. The actor playing the stranger is actually very good, as is Judd, but like so many other Judd films, there seems to be a displacement in the story. Turns out that Judd is so in need of a soul mate that she allows herself to become brainwashed by the stranger and believe that she is infected with bugs like he is... not only that she believes she is the Queen bug. Now go along for the ride all you want but the Point-of-View is on these psychotics so there is a polarized message. But when other characters in the film are saying nothing is wrong well then who would you believe... the people saying nothing is wrong, or the people that are dressed like baked potatoes? With an unbearable final act that is laced with tin foil, once the scene is set ablaze you wish you were on the same stuff that these people are on, that way it would make sense and possibly be entertaining. But sober... avoid, avoid, avoid! On a positive note, Ashley Judd does get naked!!!
Bordello of Blood (1996)
As funny as Eyes Wide Shut with about the same amount of nudity and half of the time!
Tales From the Crypt should always be taken for what it is... entertainment in horror fashion by appealing to underage people with juvenile humor and absurd plots. And I down that spoonful every time. The running time flies by without hesitation that I have repeated viewings of this movie to see what I missed, and it has grown on me as if Angie Everheart's fangs have sunken themselves into my jugular. Angie's acting is horrendous as this is her feature debut but as long as her body talks who cares what is said. Dennis Miller provides his own variation to the know-it-all gumshoe, but could've faired better by losing the tight stonewashed jeans and slipped into some slacks. His humor goes beyond the average 16 year old that this film should've based its audience around, but he is trying to reach a higher level after all above this schlock. Erika Elenik as a televangelist producer... spot on in the absurdity! Corey Feldman and Chris Sarandon were apparently in on the joke for they just absorb the role and play it for the s**t and giggles as it is. Being a self-professed TFTC fanatic, I enjoyed the in-jokes that are within this movie (especially the key from Demon Knight) but the in-jokes were not essential as they are to other films (such as Kevin Smith flicks). This movie was never aimed to mentally impair you with horrific images, it was made for the fore-mentioned crowd and should be taken in that same vein... just make sure Angie Everheart is sucking from it
On the Border (1998)
Staying on the DVD shelf
Casper Van Dien... what can I say? I enjoy the guy! His movies bring a certain flair to them that is actually not brought on by the director or producer, but by him! Recycled plots... check. Rip-offs of better movies... check. Wooden acting... check. It's not that Van Dien is a bad actor (he has been effective in Hollywood gloss as Starship Troopers and Sleepy Hollow) he just really has not been offered a script worthy of his talents; and yes, he does have acting talent other than being eye-candy. This movie offers a slight hint of what Van Dien can offer but is bogged down by the production of it all. The script can be better developed (see Oliver Stone's U-Turn). The directing can be better utilized (see Robert Rodriguez's From Dusk Til Dawn). The DP could've made the desert more exotic (see Russ Meyer's Faster Pussycat Faster Kill!). This script is weak because this is something we have seen before many other times so the double/triple-crosses are expected. The direction is weak because it is not offering anything new and telegraphs many of the weak script moments. The cinematography at times paints a lovely autumn desert flavor to it, but at other times it doesn't take advantage of the scorching light and the beginning sequence is horrible in cornflower blue.
Now to the acting... Van Dien shows some grace and charisma to his Jake. He neither gets too methodical nor too campy in his role. A nice balance especially since the rest of the cast seems too distracted as to how they should be acting in this film (bad script or bad direction... you make your opinion). The only other person worth mentioning is Bryan Brown's villain as it provides the only real credit for acting in this film... aspiring actors forget trying to learn how to act in green screen, try learning how to act in a horrendous script and take notes on Bryan Brown in this film. He adds extra depth to his role and is a nice counter part to Van Dien's character. Jake always seem to either be one step ahead or control of any situation whether if it is out of his control. The femme fatale is weak (this is a desert noir after all) and is another nail in this film's coffin (you decide... script or direction). The Rosalita character should've been thrusted forward in the movie instead of being pushed into the back ground later on to make room for the real femme fatale. So watch the film for Van Dien and Brown; and for fun, try to skip a rock across the plot holes laced within the film.
Eye of the Beholder (1999)
Beauty is in the eye of the ... whatever
I hate whenever people say the book is better than the movie, but how can you argue that when one of the screenwriter's is the author? And the other is a director of an Oscar-nominated film Priscilla: Queen of the Desert? For a better answer to that watch the documentary about this film called Killing Priscilla for a better understanding and see how the film slowly slipped through Elliot's grasp. But that is for another criticism and this is for this film... The problem is not entirely Ashley Judd's fault. Nor is it Ewan McGregor's. But more exactly it is the fault of having both of them in the same film and portraying a father and daughter. If one is to take the pro-Judd choice in this film, then she does a exceptional portrayal of a lecherous woman that is conflicted with what she wants, and what she is trying to recapture due to the absence of her father in her past. Plus she gets naked too!!! Instantaneous high-fiving. Con-Judd though is that her character is too underdeveloped as far as her father abandonment issues and how her manipulation as a youth has transformed her into a woman that knows no love, only materialism. But she still is naked in the film and that is solidified! Now onto McGregor... pro-McGregor is this guy can channel isolation into depression and obsession just by raising his brow. He does it so void of any human emotion that he is a shell and his search of this woman, that may-or-may not be his daughter, seems to give him his sole soul that he has lacked for some time. Con-McGregor is the age of his character. If he is chasing a version of what would be his adult daughter then he has not aged a day since he quit the junk in Trainspotting. And that makes it the polarizing effect on this film... this film should've been separated into a 2 hour film where 1 hour was dedicated to the Ashley Judd character's point-of-view, and the other hour should've been dedicated to McGregor's version. Having both of them together interacting is breaking a cardinal rule of time travel which is DO NOT INTERACT with the past for it might throw off the universal balance, and that is exactly what has happened with the casting decision in this film. And one final time... Ashley Judd gets naked!!!
Killing Time (1998)
Art-house action
Think of this movie as a comedy, or at least the title is. Not only is it killing time, it is also about killing time. This is refreshing take as the violence did not depend on being glorified ala John Woo but instead it went for the BLINK and miss it violence that occurs, but the periods of time between the killing is the joke. I hate to do this and reveal too much but one scene sums the movie up to a 'T'; Maria has turned the tables on an unsuccessful assassin and she kills time by trying to shoot an apple off of his already battered and bruised head. Violence has never looked so chic and menacing at the same time. I don't know if anyone ever wondered while watching movies but I always wanted to know what assassins did after they completed their hit and this shows us that on the outside everything is glossed up, but in the end it is a grind and just like any other job, it becomes routine. Seek out to see when action goes on a budget... now would be a perfect time to remake this flick as a comedy in the current economic time by having Maria taking any killing contract because of a need to earn money and then having to deal with the consequences of greed of the fast buck. Until then, give me the original over any Michael Bay movie.
Ballistic: Ecks vs. Sever (2002)
Turn your mind on numbbbbbbbbbb
With all of the harsh and negative criticisms of this film let's look at what is good... Sorry, my mind was still left on dumb because this movie has about as much intelligence as my 3 year old. But does it take a genius to realize the crew took the pay day and revealed their inner latex S&M fetish? Antonio Banderas and Lucy Liu look terrific and are pure eye candy, as is the cinematography. If only more attention was spent on the script as the detail and focus on the rain drops, then we would talking about a genre definer. Gregg Henry still can chew a scene like it was Body Double again. Ray Park proves he can butcher an accent like anybody else can but at least he puts forth an effort to stretch the limitations of the script and make something unique. Best of all is the shoot out in the Mall which can be placed amongst any popcorn flick and excel, and that scene should actually be studied and broken down to the blue print because I wouldn't have minded 2 hours of that instead of a thing called PLOT intruding itself in this movie. To save yourself some headache, turn down the volume and put on your favorite techno music mix and watch the movie that way, trust me it still makes sense.
Living in Oblivion (1995)
Hidden Gem
Place this in a time capsule and see how much future generations will relate to Nick and his adventures. The strength in this movie is the casting and just watch to see how the indie scene in the '90's could formulate this cast. Buscemi plays one of his most memorable characters in his facet (which is saying a lot for the King of Indies). Catherine Keener perfected her Catherine Keener-demeanor (if there ever was one) in this flick and gave a new purpose for Preparation H. Peter Dinklidge gives a deep concentrated monologue about the 'importance' of dwarfs in film. Dermont Mulrony rocks the s**t out of an eye patch and has some of the plays off of every actor so casually that it is characterization to the highest degree. And poor James LeGroes missing out on the Brad Pitt boat because he out-pits Pitt! Tom DiCillo was an indie master before this with his previous work with Jim Jarmusch but the fact that he never settled for the high road after this flick makes him miss his mark as a new Billy Wilde, and instead had to settle for being Tom DiCillo
Domestic Disturbance (2001)
Vaughn's dark side
Standard thriller by the numbers is actually held together by the presence of Steve Bsucemi as he hovers over the film and should've been cast as Vince Vaughn's part instead of being the buddy. Imagine how this would've turned out... sure Travolta is the star of this pic and Vaughn was still a rising star (living off of the title since '97's Swingers) but would Travolta be sleep walking this role if he had a villain with more malice? Teri Polo is arm candy and Travolta is decent as an understanding father; Vaughn here is the weak link. Not that Vaughn is horrific (he is TERRIFIC as Lester Long in Clay Pigeons) but his tic is about as menacing as Vaughn doing Norman Bates (wait a sec... joke on me because he wasn't as effective in that role either). If a different approach was taken and Vaughn came across as turned on his Cary Grant suave charm then think of the astronomical proportions this movie could've reached, but all we have is this version. If you buy this movie make sure that anything over $5 for it you are being ripped off
Cabin Fever (2002)
Welcome to the party
Eli Roth didn't wait for opportunity to knock... instead he kicked in the door and sent splinters flying everywhere! This is his calling card and many of the elements seen in his later films have been established here. 1) Good looking thespians with little or no range 2) Ultra violence mixed with college boy frat humor 3) Tarantino-esqe cultdom 4) Gruesome violence and subjects not handled as deeply as they could be explored
but here is how Roth uses all of those elements to his advantage and creates a unique experience.
1) Jordan Ladd (underused since Gregg Araki's Nowhere) has built up a nice IMDb resume since appearing in this flick and is destined to become a cult icon in the same circle of Tarantino/ Rodriguez/ Roth circles. Rider Strong found life beyond Boy Meets World where later in the show they started exploring his character's darker side, and this was his spring board for meatier roles in Tooth & Nail and Borderland, 2 interesting genre submissions. Cerina Vincent beyond being eye candy has the strongest pressence in this film and is actually the film's femme fatale leading to the demise of 2 male characters eventually leading to her own demise in the film's most explicit scene. How come she is not offered more roles is a head scratcher 2) Gore porn is handled in a more dramatic way in some of the Splat Pack's films (High Tension, Devil's Rejects) but Roth handles his in a dark comedy fashion that it is not tended to be taken serioulsy rather the humor is numbing the already numb vision that has been seen. Look at this film, Hostel I and II, and Thanksgiving trailer (his most accomplished and critic-fav submission) 3) The fact that he knows that he is not the greatest actor aside, he is actually not annoying when he appears in his films unlike the fore-mentioned director. In fact he becomes the most welcomed director cameo since Hitchcock. And he has actual acting chops seen in Death Proof and Inglorious Basterds 4) Flesh eating diseases and tourist killings can be intriguing documentaries but in Roth's hands it is nothing more than the McGuffin for the ensuing violence. And besides, isn't fact always more frightening than fiction? Who's to say that what has been depicted in his films haven't' already been done in real life? Plus Roth brings back the frightening and haunting horrific images that once embedded itself in the subconscious of minds from the '70's/ '80's horror flicks.
Roth is bringing it back and this was the original spring board but be prepared to be divided; either you're on this side of the fence or the other. There is no middle ground
Thriller - En grym film (1973)
They Call Her: Darryl Hannah
The best thing about this movie is how Tarantino made it better... by dressing up Darryl Hannah like the character. Other than that, this is a true grind house flick filled with the usual excess amounts of sex, blood, and violence. Funny thing is how this movie was made by the Swedes and this must have been revenge for the Orson Welles 'Cuckoo Clock' monologue from The Third Man, because this is as sadistic as it gets. Not even Bergman's The Virgin Spring was this cruel from it's fellow countryman (but Craven's Last House on the Left is a nice counter piece). Tough it is a satisfying rental (or to own for true exploitation bluffs) as mentioned before the strength is actually Kill Bill Vol. 1 & 2. Watch this movie as a double-bill with I Spit on Your Grave and see how much man hating can ensue, or if you're a guy, how much you hate to have a penis at that time.
Dio, sei proprio un padreterno! (1973)
Martino... shaken not stirred
I scooped up this title by accident with the Grindhouse Vol. 1 collection of pure Euro-trash movies. But this movie has a nice stamp of approval and should deserve a better transfer than what is out there. Stupednous it is not... satisfying it is! Watching this movie I couldn't help to wonder... how come Sergio Martino didn't make this flick? This has his signature all over it and punctuated by Edwedge Fenech (alas not as well known as she should be but she did get a nice cameo in Hostel II). Double-crosses and triple-crosses underly and cement this film from beginning to end with Lee Van Cleef oozing coolness under pressure from the 1st second. Did this guy have to go to Italy to finally reach his potential or did the studio system let this guy slip through? Besides Lee's more recognizable films, film-goers should try this on for size and see how if Sergio Leone would've lowered his epic scale down on Once Upon a Time in America to half the running time (and 1/4 of the budget) this is what it would've turned out to be like. So refreshing, it should be taken in during the day at home and make it for an couch matinée
Jersey Girl (2004)
A Mature Kevin Smith?
Give the man some credit... not only did Kevin Smith make a movie that wasn't laced with: inside jokes, inside-inside jokes, references to his Askiewverse, or Jay and Silent Bob; he made a humble movie in the vein of GASP! growing up and becoming an adult. More accurately... a father. Ben Affleck, though never given his true deserves, but gives a non-Affleck performance and shows his talent as an actor (when he wants to be). Undeservingly this movie was buried under the Benifer hoopla but what emerges is a gem. George Carlin has given his final best performance as Ben's dad, Jason Biggs shows that if he didn't stick his disco stick in a pie he might actually get better parts. A wonderful cameo by Will Smith is justified (and ties into a two vocal points in Ben's journey). Liv Tyler gives more chemistry to Ben then 3 hours worth of Armageddon! But Ben is the star as this is a turning point in his career where he has traveled into some unfamiliar territory and I have enjoyed every time in his growth. I hate to spoil things but the scene where he has to justify his need to return to his past (confronting his daughter) is RAW as a flesh wound when a thumb is pressing into the meat! Watch it and if you are not moved then there is something cold within you (despite anyone's opinions about Ben or Kevin Smith). But all praise aside, this is still a flawed movie where the sentimentality does pour on the extra syrup adding too much flavor, but flaws aside, take it for what it is... a place that we might not get to go with Kevin Smith again (it FLOPPED!) but a beginner's place where Ben found his way again.
No Man's Land: The Rise of Reeker (2008)
No Man's Sequel
Attention to all independent film makers... there should be a new genre known as the Desert Horror film and the Reeker series has gone back to the well 2 times. The background story of the Rise of the Reeker was a nice touch but should have expanded more on the subplot instead of speeding through in order to get to the 'meat' of the film involving bank robbers, disgraced cops, and lost angels from big cities (but then again this should be the character check list of this new genre). What this film does is balance between the reality/ fantasy borderline of the film and pulls it off with a nice touch and wraps it up with a possible 3-peat where we could see what is slowly becoming a new horror icon in the making, grass root style (or could it be tumbleweed?)