Tag Archives: terror

V/H/S Series – Review: Part 1

16 Apr

Found footage horror movies were a huge deal up until recently, and there was a good deal of bad mixed in with a handful of good. I firmly believe that if found footage is done correctly, it can be very effective, but the film makers who attempt this walk a fine line to make it seem realistic without making it look cheap. Perhaps one of the most recognizable series that implements the found footage style are the V/H/S films. These were mostly seen on the festival circuit before being released On Demand and then put on home media. I’ve never seen these movies, but I’ve heard plenty about them, so let’s dive right in.

Let’s start with the original 2012 film, V/H/S.

A gang of criminals is hired by a mysterious source to break into an elderly man’s house to retrieve a single VHS tape. What’s on the VHS tape is not explained and is deemed unimportant, so the thieves take the job. They easily break into the house but are shocked to find the old man dead and his house covered in an assortment of VHS tapes. In order to root out the correct tape, they start to watch what this man has in his collection, but are horrified at what they find. What is on these tapes are documented cases of horror that include a mysterious murderous entity, a siren that forces herself on men to feed her bloodlust, webcam footage that shows an unspeakable lie, a stalker hunting a couple on vacation, and a house that holds a deadly secret. While the thieves watch these tapes, they become aware of strange things happening around them that may have some connection with the dead man and what he has on these tapes.

So, I definitely have some things to say about V/H/S. Some of it’s good and some of it isn’t so much. Let’s get the negatives out of the way. First off, this is a found footage movie, and I believe that if found footage movies are done right, they can be a real success. This one takes that gimmick and goes a bit too far with it. The frame story of the thieves breaking into the old man’s house to find the VHS tape is fine, but it’s almost destroyed by these glitches in the tapes they’re using. This happens for the first few minutes, which didn’t really bother me, but they just kept happening. It drove me crazy. As I’m sure you’ve gathered, this is a horror anthology filled with short films. That being said, some of these shorts really didn’t do anything for me. The one that sticks out for being the most bland is the one titled Second Honeymoon. These shorts run close to 20 minutes long, so when one is really boring, it feels way longer than it actually is. This one leads absolutely nowhere, and it’s followed up by another short that also falls pretty short. This makes for a middle section of this movie that seems to drag on forever, but that’s the risk you take with anthology movies like this.

WhenV/H/S decides to get good, however, it gets real good. The general consensus from the critics I’ve heard from is that the first short and the last are the strongest, and I’m certainly inclined to agree. The first short called Amateur Night is a terrifying trip that has an excellent build up and an even better payoff. The final short called 10/31/98 isn’t the scariest of the bunch, but it does feature some pretty cool special effects that is the perfect climax to the style and mood that this movie has been building. There’s something startling about some of the imagery that’s used in this movie, and that’s probably what I’m going to remember the most about it. Since it is a found footage film, there are select elements that can’t be seen, which works since whatever you concoct in your imagination can be way scarier than the reality, but what is shown is brutal and has a style all its own.

V/H/S didn’t set a new standard of horror films when it came out, but the ripple that it made was well deserved. Comparing it to something like The Witch or It Follows isn’t really fair, but for what it is, it’s a pretty impressive low budget scare fest. There are certain segments that don’t hold up nearly as well as some of the other ones, and the acting can be a bit off at times. What does hold the movie up are some genuine scares and cringes that the scarier portions of the film provide.

Final Grade: B-

A year later, the sequel, simply titled V/H/S/2, was released. If this isn’t one of the most badass sequels I’ve seen in a while, I don’t know what is.

When two private eyes are hired to find a missing college student, their investigation leads them to a house that seems abandoned, except for a set up of televisions, a laptop, and a series of VHS tapes. The investigators begin to watch the tapes which seem to show unspeakable horrors. A man sees the vengeful undead through a new high tech prosthetic eye, a man on a bicycling trail is bitten and turned into a zombie, journalists witness a violent cult hit the climax of their worship, and aliens wreak havoc on kids having a slumber party. While the tapes don’t appear to be linked, it becomes clear to the investigators that something is very wrong with the house they’re in, and terror soon strikes them as they become part of their very own VHS tape to add to the collection.

Take everything you liked about V/H/S and turn it up to 11, and that’s how you get V/H/S/2. This really is one of the strongest sequels I’ve seen in a while, and certainly one of the strongest sequels in the horror genre. There are so many memorable moments in this film that it’s hard to wrap my head around all of them. If you want to talk about real horror, I’d be in trouble if I forgot to single out Timo Tjahtjhanto and Gareth Huw Evans’ segment titled Safe Haven. I have yet to watch the next film in this series, but I can say that this segment is going to be the strongest in the whole series. Take the real world horror of a Jonestown situation and add the supernatural, plus make it found footage so you’re smack dab in the middle, and you got some excellent moments of terror. I also want to single out Eduardo Sánchez’s and Gregg Hale’s A Ride in the Park, where we see through a zombie’s point of view via a Go Pro on his helmet. This is works as a zombie horror movie, but also a sort of wacky dark comedy.

I do have a few complaints about this movie, and they really just have to do with the strength of a couple of the tapes. The frame narrative with the investigators really doesn’t seem like much, but the end pay off makes it all worth it, so that one gets a pass as a positive. The first short titled Phase I Clinical Trials has a good idea if it were an episode of The Twilight Zone. For a movie that has shorts like Safe Haven in it, I expected a little bit more. It has some scares, but it’s over before it begins and there’s really nothing to it. The last short called Slumber Party Alien Abduction also doesn’t hold up as well as the two that come before it. There’s some interesting sound work and the aliens have cool reveals, but it feels underwhelming after the gems that have already been shown.

V/H/S/2, despite some of the segments being weaker than others, is a really good horror anthology film that is even better than its predecessor. It takes the scares, the gore, and the ideas and turns them way up to create a horror film that I may never forget. All the film makers that worked on this movie each had a specific task, and some of the made gold while the others follow up with silver. Never was I bored during this movie and it’s one that I’d love to watch again.

Final Grade: B+

So there’s the first two entries of the V/H/S series. Both were solid movies, but I have to give the edge to the sequel. Stay tuned for my next review where I’ll talk about V/H/S: Viral and the spin off movie, SiREN.

The Fog (1980 & 2005)

18 Aug

Watching a master working in his prime area is a joy to behold, so watching another horror movie written and directed by John Carpenter is always a lot of fun. Today, I want to look at his 1980 horror cult classic, The Fog, and it’s unfortunate 2005 remake. The history of The Fog is almost as interesting as the movie itself, with this being Carpenter’s horror follow up to his classic Halloween, but the way the story is told and the images he uses is what makes it a memorable movie. The same can’t really be said for the remake, but that isn’t all too surprising. With that, let’s dive right in.

Let’s go back to 1980 and take a look at the original version of The Fog.

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It should be a time of happiness for the small coastal town of Antonio Bay, which is celebrating its 100th birthday with vigils and town parties. Unfortunately for the residents, an evil force is lurking just over the fog covered horizon. When a small ship is terrorized and its occupants murdered, the threat soon becomes more real. The only person who knows the truth is the town priest, Father Malone (Hal Holbrook). As the fog rolls further inland, more paranormal events start happening to the town, which prompts the town’s radio station host, Stevie Wayne (Adrienne Barbeau), to report on the direction the fog is moving as certain member of the town work to lift the curse that has befallen them.

Following the overwhelming success of Carpenter’s independent hit Halloween, studios were eager to grab the talent (along with Carpenter’s co-writer and producer Debra Hill) and use it for themselves. That being said, The Fog is what I consider to be Carpenter and Hill’s true follow up to Halloween, and while it doesn’t quite stand up to that film’s excellence it still stands as a strong entry in Carpenter’s filmography. The biggest thing that drags this film down is the fact that it isn’t quite long enough. There’s a lot of time spent building up the mystery surrounding the town’s past and building up the cast of characters that not enough time is spent with the evil lurking in the fog. While this does act as a complaint, I will say that it also means the characters are much more three dimension than a lot in the horror genre of this time and it also gives the story a sense of urgency and depth.

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It’s worth noting the excellent cast of The Fog that brings the characters to life. Adrienne Barbeau, who was Carpenter’s wife at the time, is a good protagonist with an interesting task that makes her feel like more than just a target of the vengeful spirits. Hal Holbrook is great as Father Malone as he brings a real sense of fear to his archetypal character. Finally, it was cool to see both Janet Leigh and John Houseman have a small role in a John Carpenter film. The only person who seems underutilized in Jamie Lee Curtis, who doesn’t do a whole lot but tag along with Tom Atkins’ character.

While The Fog certainly isn’t John Carpenter’s best film, it’s still become something of a cult icon. The men standing in the fog, or even the fog rolling in from the distance to the little town has become images seared in the history of the genre, and taps into some deep, dark fear that we all have. If more time was spent with what was in the fog and the actual horror that happens in the third act, this would have been a perfect little horror film. Unfortunately, more time is spent building all that up that the climax feels less than what it should have been. Still, this is a horror movie well worth checking out.

With the new millennium came the trend to remake both foreign and domestic horror movies, and 2005 finally brought the highly unanticipated remake of The Fog.

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Life never seems to get too difficult in the small Oregon town of Antonio Bay. It’s a peaceful town with a good tourist attraction and a close knit attitude where everyone seems to know each other. This easy going way of life quickly comes to an end when an impossibly large fog bank rolls in from the sea and beginnings killing people in the town and destroying property. This grabs the attention of Nick Castle (Tom Welling) and his girlfriend Elizabeth (Maggie Grace), who start an investigation as to what could have caused this kind of paranormal occurrence. It doesn’t take long to figure out that the town they live in has been cursed by bloodshed since it’s founding, and the victims of the founder’s violence are returning to seek their revenge and to reclaim what is rightfully theirs.

In terms of story, the remake of The Fog follows the original pretty closely. The main plot about specters coming in the fog to reign terror down on Antonio Bay is all there, but this movie makes some very odd and, dare I say, stupid narrative decisions. At the beginning of the movie, a whole slew of characters are introduced, which led me to believe that they would all have something relevant to do at some point. Well that was just wishful thinking, because the only people that matter are Welling and Grace’s character, and to some extent Selma Blair’s, who plays this version’s Stevie Wayne, but even this character is left with very little to do and is easily forgotten by the end of the movie. That may be one of the hugest problems this movie suffers from. It’s almost as if the writers were just making stuff up as they went along and forgot about things they wrote earlier on in the screenplay.

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Speaking of screenplay, the writing for the characters is completely derivative, both in how they speak and the dimensions they are given. There was one weird joke in the beginning that got under my skin so bad because it’s the kind of joke that only that really annoying person you know says. This whole movie is made up of characters that I really don’t like saying the most asinine things with complete sincerity. The final thing I have to say about the writing is the ending, which I won’t spoil but have to mention. It’s a completely different ending from the original film, which is fine, but it also blew me away with how stupid and unplausible it was. It’s seriously something that has be seen to be believed.

A bigger budget doesn’t necessarily make a better movie, and the 2005 version of The Fog is a perfect example. There’s obviously more money that was put into it, but the writing, the characters, and the acting were all so subpar the movie ended up just boring me to tears. I couldn’t take anything in this movie seriously, and that’s a big problem for a movie that’s meant to scare you. There’s to many jump scares and not enough actual fear. This is a waste of a movie and is best left to be forgotten.

Just to recap, I can say wholeheartedly that any fan of the horror genre should at least take a look at the original version of The Fog. It plays out like a campfire story or old urban legend happening right in front of your eyes. As for the remake, don’t pay any attention to it. It isn’t worth it.

Green Room – Review

17 May

I’m not saying that the horror genre is completely saved, but what I will say is that there has been a major step up in the genre thanks to indie film makers. Within the past year we’ve had some excellent independent horror films like It Follows and The Witch grace theaters with the intelligence and originality that I love seeing movies like this. Now we have Jeremy Saulnier’s newest film, Green Room, which can be added to this new echelon of horror. This is a bloody, suspenseful, and exhausting movie that puts new faith in no holds barred horror film making and made me jealous that I didn’t make this movie myself.

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Pat (Anton Yelchin), who is in a punk band with his friends called The Ain’t Rights, is in the middle of a pretty unsuccessful west coast tour. After a show in Seaside, Oregon that is a complete bust, they are hired to do a gig in the backwoods of Portland in a club that is owned by a group of neo-Nazis. While the show itself goes fine, things take a turn for the worst when Pat stumbles upon a murder that took place in the green room backstage. Now Pat and his friends are being held by the skin heads and their leader, Darcy (Patrick Stewart). Darcy and his crew have no desire to let the band leave alive, which means the group of inept punks have to band together, strategize, and fight their way to freedom.

I love movies that take place in one location because I feel like it adds something more immediate to the story. While there are a couple places the band goes to in Green Room, the central story focuses on Anton Yelchin and his friends just trying to get out of the small skinhead club. This makes for plenty of claustrophobic scenes laced with paranoia and close quarters fighting. That being said, this is a very intense, gritty, and gruesome movie and Jeremy Saulnier really makes it a point not to shy away from any of the brutality. If you get sick looking at blood or absolutely abhor violence, this is certainly not the movie for you. If you’re looking for that grindhouse thrill, Green Room certainly has your back.

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This isn’t to say that Green Room is just some cheap grind house movie, because it’s so far from that. This is a very well executed, shot, and acted movie that has the balls to the wall attitude of ’70s exploitation and shock cinema. The true horror behind this movie that allows it to really stand tall and be more than just a shocking movie is the almost unbearable suspense and the down to earth characters that you’re almost certain to run into the likes of at some point. The scenes when it’s the punks against the skinheads during an escape attempt, it gets a little hard to breathe. There was a point in the movie where I realized that anything could happen to these characters and it was best to stop thinking like I knew what was going to happen next. This isn’t fleeting fear. This is fear that gets under your skin and makes you feel like you need a power shower.

One of the main reasons I was so interested in this movie was to see the great Patrick Stewart not only play a villain, but a villainous backwater neo-Nazi. Captain Picard as a Nazi. How does that not make anyone interested? It came as no surprise to see Stewart completely own his role and not go the over the top route that could have been gone. Like I said, the characters are pretty grounded in reality and that include Darcy. When Stewart first read the script, he said he really wanted the role because of how scary he found Darcy, and he does a great job with the character.

Green Room can join the ranking os one of my favorite movies of 2016 so far. There’s still a lot of movies ahead, so anything can happen, but right now I just can’t get it out of my head. This film is a brutal reminder that the world is full of heinous people, but never does it forget to be entertaining. It’s filled with an almost unbearable amount of suspense, an excellent performance by Patrick Stewart, and plenty of terrifying scenes that you can not unsee. Thank you Jeremy Saulnier and Green Room for helping breathe new life in a stale genre.

Sheitan – Review

7 May

Some of my favorite horror movies come out of France. For example, there’s the more modern horror flick High Tension, but also a more classic example like Eyes Without a Face. That’s what brings us to the French horror/dark comedy Sheitan. I was first interested in this movie when I saw that Vincent Cassel was playing the psychotic villain, a role that I have yet to see him play to this degree. Developed by an underground group of French videographers, Sheitan is a movie that is made exactly how the developers wanted it to be made and without any major interference from studios. The end result is something disturbing, hilarious, and unique.

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While at a Parisian night club Bart (Olivier Barthelemy), Ladj (Ladj Ly), and Thaï (Nico Le Phat Tan) meet two girls, Eve (Roxane Mesquida) and Yasmine (Leïla Bekhti). After Bart gets kicked out of the club, Eve invites everyone back to her family’s mansion in the country where they can continue the party for as long as they want to. Upon their arrival, the group meets Joseph (Vincent Cassel), the groundskeeper that tends to the house for Eve’s family. As the day goes on, Joseph introduces the group to the people of the village who are all some sort of demented, but things get even weirder that night when they all go home for dinner and it becomes clear that Joseph has something sinister in mind for all of them.

This is one hell of a bizarre movie, and for that reason I give it a lot of credit. It’s a great blend of horror and comedy while still sustaining an ominous atmosphere throughout its entire run time. The story is told in a very weird way, which I will return to later, but I was compelled to stay with this movie until the end. Sheitan slowly but surely leads you on and drops a few clues here and there as to what Joseph has up his sleeve for the unsuspecting group of friends. That being said, this movie also works as a mystery of sorts because the whole time I was trying to figure out what the hell was actually going on. When I finally figured it out, it was so rewarding because I got to see my theory play out in front of me.

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Like I said, one of the main reasons I wanted to watch this movie was to see Vincent Cassel act like a lunatic, and he sure delivers a memorable performance. In fact, I might say it’s one of my favorite horror performances. There are times where I no longer saw Cassel, but was sure that the character of Joseph had completely taken over. The constant smile that is smeared across his face is made even more eerie by the face crooked teeth Cassel wore for filming. Much like the entirety of Sheitan, Cassel is both horrifying and hilarious. I also have to give credit to the rest of the cast for adding an extra layer of character. Each person felt different and important to the story.

Now, the way the story is told felt very odd. It seemed like for a very long time, nothing was really happening. In fact, the movie only starts getting really intense during the third act. This was both a good and a bad thing for me. It was good because it made me feel like I was being led along this dark, winding path to some conclusion that I couldn’t even imagine. On the other hand, I started to feel just a little bored towards the middle of the movie. I’m still pleased that the film makers decided to take their time telling the story. Even though there were some boring moments, they never bogged the movie down and I feel like they still helped create a feeling of suspense that made me have to know what happened next.

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Without knowing anything about it before watching it, I can say that Sheitan is a wonderfully underrated movie. It doesn’t even seem to have garnered a cult following, even though it definitely deserves one. It not only works as a grotesque piece of horror, but also a dark comedy full of complete lunacy. The art design and cinematography was even impressive. To all the horror fans out there who are looking for something off the beaten path, Sheitan may be just what you’re looking for.

10 Cloverfield Lane – Review

26 Mar

What kind of black magic did J.J. Abrams have to perform to bring Alfred Hitchcock back from the dead to make a sequel to the beloved monster movie, Cloverfield? Of course that’s not the case, but 10 Cloverfield Lane has all of the suspense and tension found in Hitchcock’s best films. This movie, however, is directed by Dan Trachtenberg, who has made a few short films but this is his feature film debut. While 10 Cloverfield Lane can be considered a sequel to Cloverfield in some ways, it more so builds upon a universe shrouded in mystery. I really wasn’t expecting much when this was first announced, but this was a great movie.

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After being in a major accident, Michelle (Mary Elizabeth Winstead) wakes up in a bare room that she’s never seen before. It turns out that she was pulled from the wreckage by a farmer named Howard (John Goodman), who brought her into his doomsday bunker after he claims that the United States has been the victim of a mysterious and catastrophic attack. Michelle isn’t the only one down there with Howard, however. Soon she meets Emmett (John Gallagher, Jr.), a local guy who helped Howard build the bunker and claims to have seen the attack first hand. As time in the bunker passes and the trio get to know each other a little better, more distrust of Howard begins to build as strange evidence starts piling up that begs the question of wether he’s completely sane or not and wether it’s worth risking contamination to escape the bunker.

Take everything you know about the style and mood of the first Cloverfield and just toss it out the window. You don’t need it for 10 Cloverfield Lane. This is a completely different movie than its predecessor. In fact, this movie can be viewed as a stand alone film because the connections are so hidden, it’s easy to miss what they are. More on that later, though. What I learned about Trachtenberg from this movie is that he works really well with space. Most of this movie just takes place in Howard’s bunker, which really isn’t all that big, but there’s so much tension and suspense present that you could fill 5 bunkers. What’s also great about the suspense is that it isn’t drawn out too long or too slowly. This movie is actually very quick paced, so I felt like I was really being thrown into an intense situation before I was even prepared for it. Not only that but I had this overwhelming desire to figure out everything and know what happens. That kind of viewer engagement is a sign of a really great m10 Cloverfield Lane

One of the most entertaining things about this movie is the interaction between the three characters in the bunker. It’s really the driving force behind the entire movie, because without the interactions written exactly right (like they were) and performed with the utmost believability (which the were) this movie wouldn’t be nearly as effective. The screenplay by Josh Campbell, Matt Stuecken, and Damien Chazelle (who also wrote and directed Whiplash) is fantastic and full of memorable dialogue and suspense sequences. I also have to give the acting a lot of praise. John Goodman, in particular, steals the show and is one of the most memorable antagonists I’ve seen in recent movies. Mary Elizabeth Winstead also gives a strong performance as a protagonist determined not to give in. The only person who is a little underwhelming is John Gallagher, Jr., which has more to do with the attention given to his character in the screenplay rather than his performance in the movie.

What was great about the first Cloverfield was the mystery behind it. Sure, it’s essentially a monster movie, but the entire time it’s on you feel like you aren’t getting the whole story. This is because it doesn’t treat the audience like a child. There are clues all over Cloverfield as to what’s really going on, and there’s the same kind of clues in 10 Cloverfield Lane that are sometimes hidden in plain sight for you to find. These both give the story some more mystery and answers, but also serves to tie this movie in to the original. It’s just really nice when a movie doesn’t condescend to an audience and treat us like we can’t figure anything out for ourselves.

At first, I had very low expectations for 10 Cloverfield Lane and when I saw the praise that it was getting I was relieved. I really can’t stress it enough that this movie is nothing like the original in terms of its style, but the mood and feeling of mystery and paranoia still hold strong. J.J. Abrams really knows how to market a movie, but this wasn’t just clever marketing that makes this movie a success. 10 Cloverfield Lane is a success because it is smart, suspenseful, and superbly crafted.

Carrie (1976 & 2013) – Review

30 Jul

With 54 novels and almost 200 short stories, along with over 100 film adaptations of these works, Stephen King is one of the most prominent writers to walk the face of our Earth. Incidentally, the first novel he ever published was the first of his works to be adapted. This, as the title of the review may suggest, is Carrie. The first film to be released in 1976 became a horror classic as the years went on, which spawned a little known sequel in 1999 and a TV movie in 2002. Along with these was a remake from 2013, which despite what I originally expected, isn’t half bad.

Let’s start with Brian DePalma’s 1976 classic.

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High school can be tough for just about anyone, but it’s especially tough for Carrie White (Sissy Spacek). Having grown up under the roof of her Christian zealot mother, Margaret (Piper Laurie), she hasn’t been exposed to close to anything that kids her age have been, making her a social outcast and victim of extreme bullying. One day, the humiliation gets so bad that Carrie discovers latent telekinetic powers, which her mom claims to be the work of the devil. When Carrie is asked to prom by track superstar Tommy Ross (William Katt), after his girlfriend Sue (Amy Irving) demands it to atone for her bullying Carrie, it seems like her world is about to open up to new possibilities. Unfortunately for Carrie, school bully Chris (Nancy Allen) and her boyfriend Billy (John Travolta) stage a prank at the prom that unleashes not only more of Carrie’s telekinetic powers, but also years worth of rage and a violent desire for revenge.

Anyone who knows the story of Carrie should be able to understand why it’s actually so important, and also an iconic staple of the horror genre. It’s a devastating story of a young girl who is pushed too far by bullies, and she just so happens to have supernatural powers to get back at them. While this is a horror film, it can also be looked at as a drama, especially since the horror that it is known for happens during the last twenty minutes of the film. The other horror is also just watching her get tormented by the students and teachers at school, but also finding no solace at home with her mother who abuses her in a different kind of way. Carrie is a horror movie with a moral, and that’s to respect everyone, no matter how strange they may be… especially if they’re also gifted with murderous supernatural powers.

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Everything about the original Carrie just fits so perfectly. Brian DePalma’s highly stylized use of split diopter lenses and split screen editing makes for a unique experience, especially for a movie like this. The performances by Sissy Spacek and Piper Laurie are also something to take note of, and they were both nominated for Academy Awards for their work in Carrie. Isn’t that odd? Two actors being nominated for a horror movie? What I’m getting at is that this is more than just a run of the mill horror movie. It’s a cautionary tale told by one of the world’s greatest storytellers, and it deserves its spot as one of the greatest horror movies ever made.

So, when another Hollywood remake was released 37 years later, I kept finding myself wondering why it had to happen. Do we really need another remake of a classic horror movie? Well, like it or not, we got one so I did my best to approach it with an open mind.

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There really isn’t a whole lot of difference between this film and the original, aside from the casting and the use of technology. This time, Carrie is played by Chloë Grace Moretz and her insane mother is played by Julianne Moore. Of course all of the other kids are recast, but they aren’t really worth mentioning. What this movie does, however, is add the use of social media to heighten the level and stretch the reach of the bullying done to Carrie. The most complaints I’ve heard about the original Carrie, even given by Stephen King, himself, who loved the movie, is that it’s outdated. Kimberly Pierce, most famous for her critically praised film Boys Don’t Cry, updates the movie for today’s audience who might not have seen the original. In that way, this film still succeeds just as much as the original with a message that is universal and timeless.

This being a remake, there’s no way that I could look at this movie and not compare it to the original. One thing that I think actually did improve was Julianne Moore’s portrayal of Margaret. This may be completely sacrilegious to cinephiles everywhere, but I just think that out of every actress ever, she was the perfect choice for this part. She just does creepy and insane very well. The same can’t really be said for Chloë Grace Moretz as the titular character, however. She does a fine job, but doesn’t have the power that Sissy Spacek had. Just look at the iconic scene from the prom in the original. Spacek is genuinely terrifying in that scene, which is something that Moretz unfortunately couldn’t capture.

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Most people say that this remake, along with may others, didn’t need to happen. The original has become such a classic that that’s the one people should be watching. The reality of the situation is that a lot of younger people don’t have an interest in older movies. This version of Carrie is actually a good way for younger audiences to experience the story and hopefully learn a little something about how they treat people because of it. It definitely doesn’t reach the high standards set by the original film, but it’s a worthy remake that is actually worth checking out, if anything just for the fun of comparing.

The story of Carrie has become known to pretty much everyone, even to the people who have never seen the movie. It’s pretty cool to think that a story originally written in 1974 is still relevant today and probably will be years from now. It truly is a sad story that ultimately ends in tragedy, but it works great as a horror film as well. For purists, it may be best to stick with the 1976 classic, but (and I really can’t believe I’m saying this) the remake really isn’t bad at all.

Three… Extremes – Review

10 Oct

Asian horror is one of my personal favorite genres and has been creeping more and more into American culture by remakes and just by curious film enthusiasts out to see something new and exciting. Exciting is just what I would call really good Asian horror films. Exciting, and…well, extreme. Three different directors from three different countries band together for Three… Extremes, a collection of horror films that attempt to take the genre to a whole new level.

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The first film in this group of three is Dumplings from the Chinese director Fruit Chan.

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An aging woman (Miriam Yeung Chin Wah) is obsessed with finding a way to bring back her youthful look. She finds help with Mei (Bai Ling) and her home made dumplings, which have been known to have a physical rejuvenating quality. What this woman doesn’t know is the secret ingredient that Mei uses for her dumplings, and the means that she goes through in order to please her customers.

Dumplings is one of those movies that actually got to me, and even worse made me lightheaded. This is, without a doubt, one of the most uncomfortable films that I have ever sat through. Fruit Chan isn’t as much of a horror director as the other film makers in this anthology, but he succeeds in such a way that I was actually very surprised. What really helps this segment along is Christopher Doyle’s work as cinematographer. Doyle combines gritty and sophisticated lighting to really show a contrast in the different locations. This is a disturbing trip into a hell that I’m not too excited to go to again any time soon. Unfortunately for me, Dumplings was also released as a feature separate from this anthology and I’m curious enough to check it out.

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The next film in the anthology is by Korean director Park Chan-wook titled Cut.

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A famous director (Byung-hun Lee) is known not only for his talent when it comes to film making, but also for being a very nice and accommodating man. After a day of filming, he comes home to find his house completely empty, save for an intruder who knocks the director unconscious. Waking up on the set, the director finds himself face to face with the intruder (Won-Hie Lim) and his two hostages: the director’s wife (Hye-jeong Kang), whose fingers are glued to the piano, and a small child. He is then forced to play this stranger’s sick game to determine who is walking out of this in one piece.

Out of the three short films, this one if my favorite for a lot of reasons. Park Chan-wook’s use of camera movement and editing really makes this unique. Along with the nice camera and editing work, the set design is really awesome. It’s this off kilter gothic kind of set that just doesn’t seem quite right, and I mean that as a compliment. Finally, despite it being a horror film with a strong element of torture, it is also darkly comedic. This has a lot to do with the editing, but also Won-Hie Lim is also a great vocal and physical actor that we are frightened by his madness, but can’t help laughing at him. Cut stands above the other two and will not be forgotten.

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Finally, from Japan, we have Takashi Miike and his segment, Box.

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Kyoko (Kyoko Hasegawa) has been having a horrifying dream of being buried alive. As if her subconscious torment wasn’t enough, she has been haunted by the ghost of a little girl, thought to be her long lost sister, Shoko, who shows up in her apartment complex. In order to understand these dreams, Kyoko must search deep within her memories to those that have been locked away. The cerebral quest takes her to an all too familiar place where she has to face the demons of her past head on, all the while learning that her night mares aren’t too far from the truth.

Out of all of these short films, I’m really disappointed to say, that this one didn’t really do much for me. I’m upset about this because I really enjoy Takashi Miike as a film maker, and I know that he is capable of horror on a much grander scale than this. Don’t get me wrong, this is still a beautiful movie to look at with really nice contrasts when it comes to the lights and the darks. Unfortunately, the story is told in such a way that it doesn’t really fit with the rest of the shorts. It plays out as sort of a head trip, with very little that is extreme about it. One scene played out like some of Miike’s best work, but I had a hard time not only following this one, but staying interested.

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Three… Extremes is almost a perfect anthology film, with only the final segment really dragging it down. In that way, it really feels uneven because of the high intensity of the first two, and than the slow, cerebral pace of the final one. I almost wish that it was ordered in reverse order. Maybe than the movie wouldn’t feel so sloshy. Still, to any extreme horror fan, Three… Extremes is a must see.