dung_rat Reviews

Hulk (2003)

A defense of HULK...

[8/10 · 17 November 2004]

*MILD SPOILERS*

To begin with, it's simply not 'right' that HULK has received so much negative criticism. Of course, it's still receiving the obligatory slurs from a mob of po-faced fan-boys, pedantic 'nerds' or simply those who are too myopic to see past (pointless) comparisons with other Marvel franchises; say, Spider-man, for example.

What HULK presents us with is a very engrossing and entertaining piece of cinema. Granted the pace may be a little slower than other 'hero' flicks that's not to say that it is lacking story, motive, superb effects (think what you will…), and a unique directorial style. I personally found the CGI HULK to be a real success. It was near impossible to make it not look so animated but during fight/action scenes it really does not become a factor.

The direction is certainly above par and the cinematography and arrangement stinks of quality. I was particularly impressed with the way that Ang Lee utilizes the 'story board' effect throughout the film. Scenes literally move from frame-to-frame in a similar manner to regular comic books. Sure, it's a gimmick but it does work surprisingly well regardless of the kitsch factor. Lee manages to focus on the troubled nature of the HULK/Banner identity 'crisis' which culminates in the HULK coming across as a very tragic character – someone who wants to do right yet due to circumstances out of his reach, doesn't always do so. In that respect it has a very appropriate and contemporary feel about it.

Eric Bana does a good job as the subdued and (mildly) introverted Bruce Banner and Nick Nolte proves that he's still very much on top form playing a sort of haggard, wino-looking villain – Bruce's father...who appears to become the Absorbing Man. What's really worth noting is the prolonged scene in the desert where the HULK takes on a slew of military muscle – tanks, helicopters and such, in an all-out acrobatic fight – it's in true comic book style and an amazing feat. It reminds me of the old HULK cartoon I loved as a child!

In closing, I wanted to defend this film because it seems that most people didn't even give it a chance. Those who did were far too willing to pan it before it could gain anything as much as a good reputation. Bana has personally said that he was very happy with the outcome and there is indeed a strong following of viewers (fans or not) who found this to be a far superior film to the likes of (the lamentable) Daredevil, or (no-brain) X-men. Hopefully it will stand the test of time…it deserves to.

Zabriskie Point (1970)

Has its merits but essentially bland

[6/10 · 5 August 2004]

I must admit, it's been (around) 2 years since I last saw Zabriskie Point...

For some reason it's never totally left my conscience yet generally for all the wrong reasons. While the cinematography is certainly impressive throughout I found that the whole ordeal just dragged, and dragged...and dragged, literally to the point of tedium. In the first instance then, Zabriskie Point is clearly suffering from pace, or lack of. The 'desert' or 'love' scene being a prime example of this - it's not art; it's not even vaguely artistic - but mundane and self indulgent. The gorgeous and sweltering locales of the desert are what's worth noting here; not two young protagonists who appear to share little, if no, connection.

In that respect it would seem that most people's opinions of Zabriskie Point are either deeply 'for' it or very much 'against' it. Were the 60s really like this?! Zabriskie Point seems to linger on too many stereotypes and while films such as Easy Rider managed to successful capture the ambience of counter-culture 1960s America Zabriskie Point falls just a bit short. Antonioni certainly knows how to lay-on some thick anti-establishment slurs but it's just so blatantly obvious and very hard to believe. On the plus side, the documentary-esque footage at the start of the film does help to give off a very 'real' vibe and is duly convincing. The acting, or lack of, is apt to an extent but hardly noteworthy. This is the frustrating element - it just seems to try so hard and has now gained a small reputation of being somewhat of a 'cult classic' but it's not justified. For those who try to read what they want to read into a film for the sake of art or intellect; those who subsequently look for hidden meanings that aren't there - maybe try this. If I wanted to do that I'd happily watch El Topo - not that I would ever compare the two.

Oh, did I mention Pink Floyd contributed to the soundtrack – perhaps one of the only serious redeeming qualities here. Thanks Dave and Roger.

6/10

Troy (2004)

By no means bad...but flawed

[8/10 · 7 July 2004]

I know Troy has already received a slew of bad-to-mediocre reviews by the press here in the UK but, for me; I found it hard to truly dislike this film. That's not to say that it's not carrying its fair share of flaws.

Granted that Wolfgang Petersen has done some terrific work in the past and is an accomplished director and Troy is no exception. True: perhaps more time should have been spent making the film as historically accurate and authentic as possible to Homer's text. Surely a few historians/classicists wouldn't have gone amiss, either. Yet, to get a film as close to the sheer scale and majesty of Homer's work is surely a near-impossible task; surely no 3-hour spectacle could truly achieve this?! In that respect, I wasn't too agitated that some details were ignored and others were just poetic license. Maybe more attention could have been paid to ‘The Gods' whom play such an integral role in the ancient poem. It would seem that Petersen was happy with what had been re-written and then set about his work.

The acting is a mixed affair, ranging from great - Peter O' Toole, Brian Cox and Eric Bana; to satisfactory – Brad Pitt, Orlando Bloom and Sean Bean (who looks like he wasn't going to burst out laughing while delivering some of his lines!). Bean, I also feel could have maybe disguised his northern accent a little bit more, as could Brian Cox! Some of the lines that these guys had to deliver ranged from heartfelt to pure, unadulterated cheese which, in turn, leads to some heavy bouts of over-acting; not so good.

The battles scenes are superb and well paced. Of course, the obligatory links with LoTR have now been drawn but to see ancient battles on such a large scale…with spears, shields, bows and some impressive swordplay is a great visual experience. I was very impressed with the duel between Hector (Bana) and Achilles (Pitt). It's not overly gory but there's enough action to keep most people on their toes. The score is appropriate but not as strong as it could have been.

Overall I'd say that the film is well-paced given its length and rightly deserves a place in the annals of the great motion picture ‘epics'. There's no ambiguity contained in the story but it did get a little boring constantly hearing about how ‘heroes' took part in the Trojan War simply to gain their name and reputation in history; Achilles being the epitome of this and Petersen never seems to tire when alluding to this notion. Perhaps Troy is just a little bit more slow-burning that some other epic ‘classics'. 7/10

Shaun of the Dead (2004)

Sadly disappointing...*mild spoilers*

[4/10 · 26 April 2004]

After waiting with baited breath for this film to surface I finally made it to the cinema yesterday to see it. The British Nationals have been going crazy for this film. Needless to say being a 'Spaced' fan and a (HUGE!) zombie-flick fan I had very high expectations for this film.

It is with regret, however, that I'm not rating this film nearly as high as I wanted to...which is a shame. Yes, potentially, the concept sounded extremely promising - Simon Pegg is a very intelligent and witty guy and his work on 'Spaced' and 'Big Train' was superb.

It just failed to raise any serious humour in my eyes that was so evident in Pegg's other (and earlier) work. I know many people would have seen this film with preconceptions of his style and humour but, for me, Shaun's humour lacked a fair deal of subtlety and the gags were few and far between. Coupled with the more 'serious' element behind the film - like losing your best friend and having to kill your own mother (!!) - the film becomes a mixed affair that isn't quite as light-hearted as one would imagine.

There's a fulfilling amount of gore to keep some of the horror-fans satisfied and the fan-boys among us will no doubt pick up on some of the more subtle allusions to the horror genre. There were also a couple of shock moments which were successfully done but overall it seemed to be carrying a few too many flaws and it's positioning between horror, comedy, rom-com and satire seems so tightly interwoven that it becomes a muddled affair whereby it doesn't know it it's truly coming or going.

In closing - good special effects for the zombies, good soundtrack, Bill Nighy, some nice cameo roles, some mildly funny slapstick moments but sadly could have been considerably better. 5/10

Maniac (1980)

Spinell did well...

[7/10 · 22 March 2004]

There is something imposing and ominous about William Lustig's Maniac. Like Taxi Driver before it - the atmosphere is that of sleaze, degradation, filth, and cynicism.

It's somewhat vague as to what Frank Zito's motif is in this film; his influence; his problems. We are offered several scenes when he muses to himself and several 'mannequins'. The great element here is that he lacks coherency, the viewer is made to piece together what little they can gather. Joe Spinell really shines through during these scenes, in fact; it's a great performance all-round. He alludes to the fact that his mother was killed in a car accident and that she may have been a prostitute but given Frank's obvious psychosis we question whether he is being honest or not. One thing is for sure; he is a seriously (emphasis on SERIOUSLY) troubled individual yet he is capable of showing a more humane and tender side…such as when he befriends a photographer named Anna (played by the incredibly beautiful Caroline Munro). You almost yearn for Frank to follow this humane path as he clearly has manners and graces. Some may argue that this is just his way of getting to know his victim better, though.

For gore-hounds this film really cannot fail to impress what with its (lurid and gut-wrenching) scalping, garrotting, and a full-on shotgun wound to a victim's head. Savini obviously came up trumps again. I'd consider myself a hardened fan of most horror/exploitation flicks and even the violence here managed to shock me (...a little).

The soundtrack is apt and vaguely reminiscent of Walter Hill's The Warriors with it's rich synth sounds and tension-building bites. The film succeeds most when Frank is stalking his victims - scenes are drawn out at great length and create some genuinely tense moments. The only downside of this; by the time we're down to our third stalking it tends to drag almost to the point of dreary monotony: we know the victim will die and as this has happened previously why drag it out for such a protracted length of time? I personally cannot think of a film of this sub-genre that builds up quite the same tension as this.

In closing I can understand why this film would be frowned upon by the more conservative among us. For horror/thriller fans (especially of this era) it really is a minor gem and highly recommended. Joe Spinell did well.

Game of Death (1978)

Little more than a cutting room scrap?

[5/10 · 22 April 2003]

I'm not entirely sure what happened with this film; from what I recall Bruce died before the film was completed in it's entirety but he had, however, shot fight various scenes.

As a film - they way that it's directed, cinematography and the acting - Game of Death is very incomplete and it shows this. I'm not sure who the stand-in actor for Bruce was but he's not overly authentic in his looks and martial arts prowess. This makes for some uncomfortable viewing as most people with at least some eye to detail will realise it's not the Legend himself. This is very unfortunate. What the viewer has to make-do with is a selection of montages and random shots from some of Bruce's other films. It very obvious and tongue-in-cheek to an extent.

Of course, what does work in the film's favour are the fight scenes that actually contained Bruce. These occur within the final 10-15 (approx.) minutes of the feature. On this strength alone the film is at least watchable - Bruce climbs a different level of what seems to be a pagoda and along the way encounters a different master of various martial arts. I personally believe that the 3 fights on display here are easily some of Bruce's best work. The Nunchaku fight with the superb Dan Inosanto works very well and is action-packed. Also superb is where Bruce fights Kareem Abdul-Jabbar (who was one of Bruce's real-life students). What also makes a nice touch is that Bruce isn't totally infallible in this film - he does take his fair share of punishment. I know it's a trademark that Bruce rarely takes any damage at all but this, in my view, always seemed emphatically unrealistic.

Overall, this film is little more than a pastiche of many of Bruce's films constructed around what seems little more than a scrap from the cutting room floor. This film holds a special place for me simply for the final few minutes and the classic imagery of Bruce in the yellow and black motorcycle suit - it's so kitsch! The soundtrack is reasonable enough, too. As a film, though, it's unfulfilling and abrupt.

Game of Death (1978)

Little more than a cutting room scrap?

[5/10 · 22 April 2003]

I'm not entirely sure what happened with this film; from what I recall Bruce died before the film was completed in it's entirety but he had, however, shot fight various scenes.

As a film - they way that it's directed, cinematography and the acting - Game of Death is very incomplete and it shows this. I'm not sure who the stand-in actor for Bruce was but he's not overly authentic in his looks and martial arts prowess. This makes for some uncomfortable viewing as most people with at least some eye to detail will realise it's not the Legend himself. This is very unfortunate. What the viewer has to make-do with is a selection of montages and random shots from some of Bruce's other films. It very obvious and tongue-in-cheek to an extent.

Of course, what does work in the film's favour are the fight scenes that actually contained Bruce. These occur within the final 10-15 (approx.) minutes of the feature. On this strength alone the film is at least watchable - Bruce climbs a different level of what seems to be a pagoda and along the way encounters a different master of various martial arts. I personally believe that the 3 fights on display here are easily some of Bruce's best work. The Nunchaku fight with the superb Dan Inosanto works very well and is action-packed. Also superb is where Bruce fights Kareem Abdul-Jabbar (who was one of Bruce's real-life students). What also makes a nice touch is that Bruce isn't totally infallible in this film - he does take his fair share of punishment. I know it's a trademark that Bruce rarely takes any damage at all but this, in my view, always seemed emphatically unrealistic.

Overall, this film is little more than a pastiche of many of Bruce's films constructed around what seems little more than a scrap from the cutting room floor. This film holds a special place for me simply for the final few minutes and the classic imagery of Bruce in the yellow and black motorcycle suit - it's so kitsch! The soundtrack is reasonable enough, too. As a film, though, it's unfulfilling and abrupt.

Paradiso infernale (1988)

Diluted and dire and *spoilers*

[2/10 · 12 January 2003]

Anything usually associated Deodato's original Cannibal Holocaust will conjure up images of severe violence, real animal cruelty, and pure visceral shock.

When Cannibal Holocaust 2 reached the shops here in the UK (released by the 'weak' VIPCO label) it seemed like a rather intriguing title. Having only been cut by a few seconds (according to the BBFC) I was expecting something rather extreme, to say the least.

This film is simply incomparable with Deodato's. Again, no cannibalism is shown whatsoever and what exists is, to quote my title, extremely diluted. The acting and (alarmingly) bad dubbing makes this film seem emphatically laughable. There is nothing worth analysing here and the only reason to review this film is to shame it. A hyperbolic blood-bath would have done the trick more than this!

Protagonists driving around in 'monster' trucks...stealing amphibious aircraft...playing trumpets while canoeing down the amazon...sound terrible so far? The problem is, it continues to get worse by the minute. Anyone expecting a crescendo of violence at the film's 'climax' is going to be very disappointed. It makes you question why this film was given an '18' certificate. Blow-darting monkeys...fish swimming up natives rectums...getting worse...and the cherry on top: a vomit inducing 'happy ending' whereby all characters seem to find some form of happiness after parading around the jungle like a prize set of ignorant s**ts! If only I could have returned this and got my money back. It is fair that this sub-genre of film is a marginal one but this is, without a doubt, absolute garbage.

Manhunter (1986)

Great, but flawed adaptation-wise

[8/10 · 18 December 2002]

While it's true that this adaptation of Thomas Harris' novel isn't overly authentic, Michael Mann has succeeded in creating a genuinely decent and convincing thriller.

Now facing competition and the obligatory comparisons from its updated incarnation, Red Dragon; more viewers are now aware that this legacy actually began in the 1980s.

Overall Manhunter, in my view, is a very chilling and suspenseful thriller – the first 40 minutes bare great testimony to this. There is a sense of something ominous, brooding…emphatically sinister and macabre. The film isn't particularly violent, certainly not in comparison to Red Dragon (which I personally thought was a little too violent, for my liking) but the notions of fear and anxiety help to conjure a sense of horror which is rich and almost unsurpassed. Horror that doesn't have to rely heavily upon depictions of graphic violence is always an impressive thing.

The inconsistencies with the plot in relation to Harris' Red Dragon is perhaps where the film fails somewhat. By replacing the original ending of the novel with a gun-toting finale just seems to defeat the entire `Manhunting' process. After laboriously trying to hunt the killer piece by piece only to have him gunned down seems to defeat the object. This lowers the expectations and makes for an abrupt ending; not good. On a minor and perhaps insignificant area, Mann should have included the body tattoo on Francis Dollarhyde – apparently he was against this as he thought it `trivialised' the character. These small aesthetic details can add a certain spice to a film, no matter how small or seemingly unimportant.

Nonetheless, the acting is superb and helps to give a new slant to how the characters are portrayed both in the novel and Red Dragon. Brian Cox, for me, is a superior Lector than that (camp) Mr Hopkins. Even Tom Noonan's portrayal as the anti-hero Francis Dollarhyde (as it's spelt in this film) is practically flawless…perhaps more detail could have been spent on his background and psychosis, though.

A great soundtrack and stylish direction makes this film trump Red Dragon. It just seems, though, that there is never going to be a totally authentic and `true' adaptation of such a great novel. For my money though, I'll stick by the original movie adaptation – Manhunter.

The Dead Next Door (1989)

Romero dregs...

[3/10 · 26 November 2002]

Make no bones about this - this film is an utter disgrace and an alarmingly bad piece of cinema. I've reviewed several exploitation flicks (most of which were all produced on 'shoe-string' budgets) and have found that most, if not all, of them have some form of redeeming feature. 'The Dead Next Door' is completely devoid of anything seriously positive, though. Its self awareness of Romero's zombie movies makes it even more heinous - characters with names such as 'Raimi', 'Savini' et al. This film stands out more as a landmark of crass, mundane, tedious, z-rate, and student filming more than anything credible. The only vaguely rousing element of the film is that it does feature shed-loads of (seemingly harmless) zombies and no particular lack of gore. However, to watch this film as a parody doesn't even work.

For anyone who may be curious as to acquiring a copy of this - simply give it a miss - it is absolute garbage. Riddled with truly atrocious acting, dire plot, terrible sound (it would seem that the dubbing was inserted with a crow-bar!), laughable gore and special effects. As another reviewer has commented - this film is so bad it's simply bad. A sheer waste of time, money, and effort. 3/10

The Hole (2001)

Tries...yet fails

[3/10 · 26 August 2002]

Here's a typical example of a film that was much hyped here in the UK leading up to it's cinematic release. What most UK cinema patrons saw during trailers was a clever and equally cunning montage of shots which helped to conjure up images of fear, anxiety, claustrophobia, and sheer terror, amongst other things.

It just seems that 'The Hole' is riddled with flaws. Technically, on face value, it seems so promising - a bunch of private school 'oiks' decide to spend a short amount of time shacked up in subterranean cellar-room to party and binge all in the name of science (- it was suggested by one of their fellow students who wants to use this as an opportunity to monitor them and comment on how teenagers interact).

Let's cut to the chase...the acting is alarmingly bad; truly second-rate. All the characters are coupled with these horrible faux English accents (bar one actor who has the fake American accent) - clean cut but full of colloquialisms. Why have the lead (- Thora Birch) try and attempt an English accent; she falls flat on her face. In trying to fit the guise of a well-to-do English student she appears false, wooden, and quite frankly, plain annoying. Disappointing indeed. Do directors honestly think that teenagers really act in such a way?

It's not fair to level the films failure at something as trivial as bad accents but while, on paper, the plot is great, Nick Hamm simply fails to achieve the success that the novel does. It's extremely hard to feel any remorse whatsoever for each character as they die. The element of loneliness and claustrophobia seem to be moved to one side thus resulting in the fact that there never seems to be that much alarm, although Birch and co's sub-par acting would like the audience to think so.

On the positive side, the 'hole' itself is a very nice inclusion; it's dark, brooding, ominous, damp, almost putrid. And this is what becomes so annoying; visually 'The Hole' could succeed surprisingly well as a horror/thriller but every other contributing factor just doesn't pull tight together. The suspense and 'whodunit' element rouse very little interest and to be honest, it was a relief to see the film finally end.

I was not expecting a teen slasher flick when I went to see 'The Hole' but I certainly was expecting a lot more than what was provided. Yes, it is nice to see more English horror films getting the 'big-screen treatment' but if 'The Hole' is one of the best that we have to offer we may as well quit while we are behind.

To recap: terrible acting (- especially on Ms. Birch's behalf), annoying 'middle-class' teen characterisation (- it tended to get under my skin), unstimulating plot (- it runs more like an extended TV thriller than anything else), thin horror/suspense, and a weak ending. ON the plus side there are some promising ideas and notions; it's not all doom and gloom. Read the novel first...but try to avoid the film - it really is quite dire.

The Bird with the Crystal Plumage (1970)

A great directorial start, very chilling indeed.

[7/10 · 25 August 2002]

It seems that anyone who now takes the time to comment on an Argento film inevitably gets bogged down with trying to rationalise what their favourite giallo of his is; and how one film succeeded in one way but completely failed in another.

All too often it is heard "Wow, Tenebrae; such an amazing film", only to hear in the next 10 minutes by somebody else - "Oh no, Tenebrae; it's just an excuse to show-case gore and little else". I'm not here to try and make a list of what I do or do not like about Argento...I'll save that for all the fan-boys out there.

Setting all of this aside, 'Bird with the Crystal Plumage' is a remarkably successful film: chilling, suspenseful, stylish - it is certainly promising for most horror fans, especially those who are partial to the giallo genre. There isn't that much to fault here. Argento's pacing of both plot and character development is superb and places the audience in the position of trying to work out, quite extensively, who the killer is.

The final 10 minutes of the film are great; literally reaching a crescendo of violence, confusion, and anxiety for both viewer and protagonist alike. The final plot twist does seem perhaps a little bit far-fetched and strung-out but is nevertheless justified by what stood before it.

Visually stunning, 'Bird' obviously formed a sturdy foundation for the visual style and content that would be so prominent in later films such as 'Tenebrae': mouth-watering interiors and the haunting fog-ridden streets of Italy. Despite the serious and eerie tones featured throughout the film there are also mild comic moments which are a nice touch.

Overall, this is a worthy film and a great giallo. I refuse to place it in a hierarchy with some of Argento's other works but to close, it is a fulfilling film to watch with some great cinematography and not as "patchy" as perhaps some have made out. Engrossing stuff.

Don't Torture a Duckling (1972)

Just above par...

[6/10 · 24 August 2002]

Set in the lush of rural Italy there is something altogether different with the locale of 'Don't Torture a Duckling' in comparison to Fulci's later works. This does not go amiss and is perhaps one of the strengthening factors of this (satisfactory) film.

While it is true that many of the characters are developed throughout the plot, this is not altogether convincing yet should be noted with some merit. Several reviewers have taken the opportunity to compare this film to, say, 'Zombie Flesh Eaters' - the latter usually coming under fire for it's (alleged) lack of characterisation. Let's remember though that 'Zombie', in essence, is an exploitation film and should be noted more for being a timely piece rich in visceral shock-value. Characterisation and plot development are not strictly paramount (- although some would disagree).

This is not to say that 'Duckling' is in any way a 'bad' film but it is certainly lacking something and it becomes a difficult task to put a finger on what that is. There is a degree of realism to the film itself and it's portrayal of violence and emotions. Sure, there are no exploding zombie heads or pierced eyeballs but that does not mean to say that 'Duckling' doesn't fail to shock in places. The film may look dated but in regards to it's subject matter this film is still as relevant today as it was when released, maybe more so. Particularly here in the UK, any film dealing with the death of young children, religion (it is debatable as to whether or not the Catholic Church is being swiped at here), sex and superstition is going to create strong resonances.

Having heard nothing but good about this film I do feel rather uneasy by not rating it nearly as high as I thought I would. The giallo characteristics of the film are a catalyst and the musical score is very apt and helps to create a chilling ambience. The camera-work is impressive and noteworthy. It just seems that some leads and ideas never really seem to anywhere in particular...take the woman who seems to flirt with literally everyone; this may be justified by fails to rouse much interest at all. Certain parts, take the end montage of flash-backs, for example, seem emphatically 'corny' and unnecessary indeed. It may be clear that Fulci can create a film that isn't dependent on gore and can move the viewer but this isn't as ground-breaking as some have made out.

To conclude 'Don't Torture a Duckling' is an overrated, underrated film but do keep an open mind. It seems like 'Duckling' is going to ever-remain as the 'tender' or 'intelligent' film that Fulci directed merely because it has little bloodshed.

Let Sleeping Corpses Lie (1974)

The Living Dead raid the Lake District!!

[7/10 · 30 May 2002]

Jorge Grau's much-overlooked 'Living Dead at the Manchester Morgue' (- one of several monikers that it was released under) is a rather elusive Zombie film. Elusive in the sense that it still remains banned today in the UK. Having finally managed to acquire a totally uncut DVD copy of the film it was great to see it in all its lurid and eerie splendour.

There is something emphatically unique about Grau's film. Having been released several years after Romero's seminal catalyst, 'Night of the Living Dead', 'Living Dead at the Manchester Morgue' is a standalone affair. It was released before the main boom of exploitation (zombie) flicks, including Lucio Fulci's 'Zombie Flesh Eaters', and to a lesser extent, Bruno Mattei's 'Zombie Creeping Flesh'.

Filmed in the lush of the English Lake District, this helps to create a nice air of originality that so many other zombie films desperately lack in terms of their locales. Grau is rather blatant in his political statement opting for the protagonist of the film to be a carefree and bohemian, not to mention left wing, biker named George. George comes under much fire and antagonism from the personification of all that is right wing, Sergeant McCormick. This is all very much reminiscent of the counter cultural movement that could be found in the late 1960s.

The two most popular settings for most zombie films, of course, are either remote tropical islands, as is the case with 'Zombie Flesh Eaters' and 'Zombie Holocaust', or urban environments: in 'Dawn of the Dead' it was an out-of-town shopping mall, and 'Day of the Dead' - a disused, subterranean missile silo. Grau's vision of flesh-hungry zombies roaming the tranquillity of the English countryside in search of human victims is a chilling one and works very convincingly indeed. The juxtaposition of vivid red blood being splashed over the natural green of the English countryside is a classic example of this.

Perhaps even more unique to the film are the zombies themselves in the sense that they aren't really comparable to any others that can commonly be found in these sort of films. They are supernatural beings - not only do they display super-human strength, and appear invisible when photographed but they also cannot be killed via a bullet in the head. They most certainly are not as decrepit as the zombies found in a Lucio Fulci film. Note the similarities between this film and Fulci's The House by the Cemetery.

I do not wish to really give the plot away in this review. While it is true that the film operates at a relatively slow pace, this again helps to coincide with the overall ambience of the film and it's settings. There is no particular lack of gore and suspense and the soundtrack, rich with synthesisers and theremins works very well. I believe that I gave this film a '7'. It is a good horror film and a cut above most blundering zombie films (- ignore the pun!) but there is just something unfulfilling about it. Perhaps because it only contains a few zombies rather than legions of undead beings. Try to find a copy of this if you are a fan of zombie films, it shouldn't really fail to impress.

Killing Time (1998)

Clever...

[7/10 · 24 April 2002]

It makes quite a welcomed change to see a 'gangster' film that isn't completely ridden with tacky cockney (or 'mockney') accents and the obligatory cliches that come with this.

It seems that too many have commented on this film for being unrealistic to an extent. The fact that the killer is a hired assassin should allude to the fact that she should be totally unscrupulous in what she does and how she does it. Actress Kendra Torgan employs minimal acting which helps to create a nice air of enigma about herself, and man; she's as hard as nails! She makes a great femme fatale and she is the sort of person who knows just what to do and how to do it: no quibbles, no fuss. She is the true essence of what an assassin should be.

The film works equally well as a black sort of comedy, yet in a rather harrowing sense. To joke about somedoby who has a bullet through their forehead is a classic example of this. The violence portrayed is rather intense and there is no particular lack of bloodshed. The inclusion of a classy score (containing, amongst others, 'Portishead') is also a nice touch.

The story does work rather well...it's not one of the most ingenious ever but it is cleverly composed and does tend to make you pause and think what is going on - this, for me, is always a good thing. The 'masturbation' scene is a good example of this. It is, to quote my title, 'clever'. Just because the film isn't overly complex doesn't mean to say that it is weak in anyway whatsoever. To couple this, it is a stylishly directed piece containing some good, appropriate cinematography; it helps to coincide with the overall ambience of the film itself. It is decidedly slick and polished.

To close, this is a decent British film. It is somewhat of a shame that it never really received the attention that it duly deserves. Perhaps there are still others who are yet to hear it. My advice: try it. For me it provided a great deal more entertainment and 'grit' than any Guy Ritchie film ever could. Hopefully with time, and slightly more attention, this may gain the title of being a 'cult' film.

Hell of the Living Dead (1980)

Violence, comedy, and gore...

[7/10 · 28 February 2002]

'Zombie Creeping Flesh' (as it was originally entitled here in the UK) was one in an entire glut of zombie flicks to follow the success of Romero's endeavours into the (zombie) horror genre.

In it's entirety 'Creeping Flesh' is a decidedly 'weak' film. The acting is crass, macho and hilarious at times. And the fact that the film must consist of at least (I assume) 30% stock-footage gives the impression that director Bruno Mattei really wasn't that enthusiastic about making the film whatsoever - either that or he was severely lacking the funding that it so desperately needed.

Having said that, the film is an entertaining enough affair; in the sense that the comedy and violence is enough to keep most horror fans interested, if not glued to the screen. The idea that zombies, and cannibalism, are a sort of metaphor for Third World hunger is a somewhat unusual idea for a zombie film and I guess this is a sort of reflection surrounding the anxieties in the era in which it was made.

I personally don't believe that this film is as bad as some people have made out. It is, by no means, on par with any of Romero's or Fulci's work yet I don't feel it deserves to be totally written-off. 'Creeping Flesh' is certainly a lot more fulfilling than 'Zombie Holocaust', for example, and a great deal more 'gung-ho'. It just fails though because it is alarmingly 'corny' and very derivate of so much that stood before it. The fact that a fair portion of the soundtrack was originally used in 'Dawn of The Dead' just goes to prove this. If you thrive on gore, zombies, cannibalism, and insane violence then try and check this film out: just don't get your hopes up too high.

A Blade in the Dark (1983)

Satisfactory

[6/10 · 11 February 2002]

(*mild spoilers*)

Son of famous the Italian director, Mario Bava, Lamberto Bava directs his own giallo thriller.

'A Blade in the Dark' is a mildly (the emphasis being on mild) entertaining 'whodunit' thriller. It's by no means on par with some of Dario Argento's work but manages to succeed in its own way. Like most of these thrillers it is ridden with suspense, gore, red-herrings and the inescapable 'whodunit' element. There are some lovely camera-shots here especially during the 'bathroom' murder scene.

The death scenes are (moderately) fulfilling including a fair spill of blood. The ending however just seems weak. It doesn't take that long to piece together who has been committing the murders and the way in which killer dies is a big let-down.

The way in which diegetic sounds merge and fuse with non-diegetic sound is a rather nice inclusion too. The scene where composer 'Bruno' (Andrea Occhipinti) is playing a haunting theme on his piano and then stops only to have the score continue playing as part of the films soundtrack is a nice idea. The weakness is that 'Blade...' just doesn't quite manage to achieve the suspense, horror and atmosphere that is so common in Mario Bava or Dario Argento's work. However, taking 'A Blade in the Dark' as a stand-alone thriller is does work surprisingly well. -'6'-

The Devil's Backbone (2001)

Not totally decided...

[6/10 · 10 February 2002]

Overall I still haven't come to a final conclusion regarding 'The Devil's Backbone'. I guess this somewhat defeats the object of writing a review about it but I (strongly) feel that I will be able to come back to this at a later stage and add more closure.

There is a touching sort of appeal to the film; with themes of childhood fear and anxiety. To add strength to this the film happens to be set in a remote orphanage during the Spanish Civil War. It is a remarkably and stylishly well-shot film: - the ribbons draping from the 'UXB' and the scenes that are shot in the basement of the orphange, for example. Like Soderbergh's 'Traffic' there is a realistic ambience here contributed (heavily) from the 'solar-wash' that graces the screen. The audience can almost literally feel the stifling heat radiating from the screen itself. The acting, considering that the cast comprises mostly of children, is satisfactory (and, at times, heartfelt). There are even minor comic moments.

The only criticism that I can really think of is that there were too many stones that were left unturned, so to speak. Director Guillermo del Toro seems to add twists and tangents to the films narrative but some of them seem rather 'thin' at best. It would seem that these were merely included in order to make the film appear more than a simple ghost-story. What is achieved though is a supernatural tale interwoven with a few minor and underdeveloped twists. Perhaps the supernatural element could have been elaborated on more; it's not overly 'scary'. Like 'The 6th Sense' the film relies more upon that which we don't see..and after-all, isn't this where we become most frightened?

To conclude, 'The Devil's Backbone' is an enjoyable and moderately 'chilling' film. It certainly has a slight degree of uniqueness about itself. What I found initially (and still do) is that there is just something unfulfilling about it; I still cannot place my finger on this. However, it seems to have made a lasting impression and I would definitely like to see it again. Try and see del Toro's 'Cronos' (1993) this is one of his better films. '6'.

Marathon Man (1976)

Great acting coupled with a great story.

[6/10 · 31 January 2002]

'Marathon Man' always appeared to be a rather elusive film. Despite it's status as a 'classic' I always found it somewhat difficult to actually hunt down a copy.

Having seen it recently I was impressed and relieved. This film managed to 'pull-it-off'. Connotating that 'Marathon Man' is an almost non-stop thrill ride of action, suspense, thrills, and held together tightly by some great directing and some stunning acting. This is a very good recipe for a very good film.

It certainly is concerned with World War II (as many other reviewers have noted) and the intrigue and suspense that surrounds the film gives it an almost sinister, and at times 'eerie', quality. There is a sort of grittiness here not too dissimilar to 'Taxi Driver' and this is easily one of Hoffman's stronger and realistic performances, Olivier is truly scary too. It's also worth noting Roy Schneider's acting as the 'tough-talking' but 'smooth-dressing' 'Doc'. One word of advice: watch the film closely as the plot tends to get very deep and very thick relatively quickly. I sometimes struggle to coherently ( - and who doesn't?) understand films and I had to watch this quite closely. On the other hand though, at least I am not afraid to admit this.

I'd seriously recommend this film to anyone who enjoys a serious thrill-ride. It is decidedly hard-hitting and perhaps one of my all-time favourites. I was also unaware, before I saw it, as to how violent it really is. -'8'-

Tron (1982)

An underrated piece of sci-fi genius...

[7/10 · 18 January 2002]

Lisberger's 'TRON' is a very competent and enjoyable sci-fi

extravaganza.

Despite being a 'flop' when originally released this seriously is an

underrated classic. Ok, well, maybe the word 'classic' is a tad

strong but it certainly deserves alot more credit than many naive

movie-goers originally gave it. It's also rather annoying to see that

people still insist on giving the film a bad review even today.

Special-effects-wise 'TRON' is a very original film; certainly

ahead-of-its-time. The use of back-lit characters and sets helps to

create a 'glowing wonderland', and considering the time, money

and effort it took to create the computer-generated sections I feel

that this film more than succeeds in giving the audience

something truly unique.

Erroneously mistaken for a film that was constructed entirely from

CGI, only around 15 minutes of 'TRON' is a result of this. However,

considering that the film was made at the beginning of the 1980s

this is seriously impressive.

The film obviously looks terribly dated now but for nostalgic

reasons it still strikes a tender chord. The story is relatively

straightforward (then then again...aren't most 'Disney' features?)

and the acting is everything that one would come to expect from a

kids action film. Jeff bridges gives a 'chirpy' performance as

"Flynn", and his alter-ego "Clu". 'TRON' isn't a film that's simply for

kids though; there are deeper issues regarding the threat of

technology and obsolescence...but I'm not going to go too much

into that now (not enough time...).

I did and still do enjoy this movie. I recently wrote a detailed thesis

about it for a University assignment fully justifying and supporting

it. I just wish that some viewers can go back to 'TRON' at a later

date and appreciate it slightly more. It is a great movie and

seriously underrated. The 'light-cycle' duel is a great scene too!

The Texas Chainsaw Massacre 2 (1986)

A moderate black comedy...

[5/10 · 15 January 2002]

It is generally regarded by most that this is but a mere shadow of its former self.

'TCSM 2' is a disappointing horror film yet it does work surprisingly well as a black comedy. The film appears far too 'polished' compared to its predecessor, which was renowned for its grainy and dark visuals.

Many people actually perceived the original 'Texas Chainsaw Massacre' as a kind of macabre sort-of-comedy. In fact, I remember when it was finally released in the UK a few years ago; I was one of the only people squeezed into a small local cinema who wasn't laughing at it. To be honest I found the killings in 'TCSM' rather harrowing. Perhaps many thought it was funny to see 'Leatherface' blunder about the place making a bizarre series of (what can best be described as) 'squeals'!

Tobe Hooper appears to have picked up on that particular trend and 'TCSM 2' is a decidedly postmodern film; comprising of many elements from the original and several other horror films. It is indeed a type of pastiche yet it contains too much comedy to be labelled so. The fact that it seems to be mocking itself and its predecessor means that it is parodic.

Also, unlike the original, the killings in 'TCSM 2' are shown in their full splendour. While Hooper opted to use a series of close-up shots of people being killed in 'TCSM', here, we are not denied that privilege. The opening killing where a man has the top of his head sliced off with a chainsaw just goes to prove this: and the fact that this wound results in blood spraying almost relentlessly is quite disturbing, if not somewhat hilarious.

I didn't give this film a particularly high grade ('5') but it isn't as bad as some people have made out; at the same time though, it isn't a patch on the original. The film is alive with cheesy one-liners and harsh language. Jim Siedow's performance as 'Cook' is goofily amusing. I agree with some other people who have commented on this film; Dennis Hopper is adequate enough but he appears to be out-of-place. It's a real shame that Gunnar Hansen (who I had the pleasure of meeting 2 years ago) wasn't playing 'Leatherface'.

Zombie Holocaust (1980)

MD = Medical Deviate...

[4/10 · 15 January 2002]

This has to be one of the worst zombie films that I've seen in a good few years (along with the appallingly bad 'Zombie Aftermath'). I like, no, love zombie films but this pushed me to the limit.

Ok, sure, 'Zombi Holocaust' has got the obligatory blood, entrails and comical cannibalism that one would come to expect from a zombie film, but this is really lame stuff people. Hmmm, what I did find most impressive though was a scene where a young oriental character is impaled on a springing trap only to have his throat slit immediately by flesh-hungry cannibals who then proceeded to feast on his corpse. In fact, there's more cannibalism displayed here than the blundering UK cut (and mark my words...they are CUT!!) of 'Cannibal Holocaust' and 'Ferox'. I also hate zombie films that have semi-intelligent zombies as is the case here: Zombies who run after their victims while brandishing weapons; what is that all about?! Give me a dumb-Romero zombie anyday; they're far more sinister.

It's difficult to not help but feel that this is a lame (at best) imitation of so many other zombie films, but especially Fulci's 'Zombie Flesh Eaters'. The fact that the film starts in NYC and then moves onto more 'exotic' locations, blargh, blargh, yadda, yadda...you see, it has been unfortunately done to death. 'Zombi Holocaust', I think, was produced round about the same time as 'Flesh Eaters'. I guess I should check my history more thoroughly but if indeed this film was released after 'Flesh Eaters' it makes it all the more disgraceful. Every minor detail that I found vaguely/mildly stirring about this 'Holocaust' was swiftly brushed aside when I remembered that it had been done before in other films. *SPOILER* The fact that the film closes with a medium-distance shot of a burning hospital was perhaps the worst of all. Wasn't that one of the final glimpses that we see in 'Zombie Flesh Eaters'?! Even Ian McCulloch's half-hearted inclusion isn't enough to make this film rise from the flames.

On the positive side the DVD release comes with some moderately interesting 'bonuses' including some alarmingly funny cinematic trailers. My closing and facetious word of advice; skip the film and simply watch the American or German theatrical trailers...they provide more entertainment (and comedy) than the actual feature ever could.

Yellow Submarine (1968)

Fab...

[8/10 · 15 January 2002]

This really is a brilliant animated film. Clever, funny, entertaining, witty and surreal: typically British. Just takes me right back to my childhood ( - it seemed to be shown during every holiday; Christmas, Easter...New Year, and so on).

Visually speaking Yellow Submarine is stunning and unbeaten (in regards to animated films) for its sheer originality and vibrancy. It contains a glorious cocktail of artistic styles and mediums ranging from pop-art to art nouveau. The two particular scenes that really appear to stand out are when 'Eleanor Rigby' is played and we are shown a grim and almost dystopian view of industrial Liverpool (great pop-art), and of course, the finale; which is literally bursting with colour and psychedelia (best wear your sunglasses!). George Harrison's 'It's all too much' coincides wonderfully with this.

The score is well constructed and it's great to see that the film contains some of The Beatles earlier hits; 'Nowhere Man' (which appeared back in 1965 on the album 'Rubber Soul') for example. This is a treat for fans and those who are curious alike.

It seems peculiar that The Beatles themselves didn't actually do the voices of their animated characters (their voices aren't overly authentic to the trained ear), but they do make a brief appearance at the end of the film. Yellow Submarine is also great to watch in groups. I had the opportunity to see it at local theatre and it was completely sold-out. It was very encouraging to see young children clapping along to the songs and dancing away along with their parents and other 'random' Beatles fanatics. It's simply great to see a film that has a simple beginning-middle-and-happy ending; there's nothing ambiguous here. The Beatles live on!

Tenebrae (1982)

'Giallo' thriller from the Italian master of suspense.

[8/10 · 10 January 2002]

(*Contains mild spoilers*)

I was in a dilemma over what film to comment on: I recently saw 'Tenebrae' (as it's spelt here in the UK) at a back-to-back screening with another Argento film, 'Profondo Rosso'.

'Tenebrae', I guess, was my first real experience in the giallo thriller and proved to be an excellent starting-point. I had heard so much about Argento's work and was itching to finally see some.

Aesthetically, 'Tenebrae' is everything (and maybe more) that I came to expect from the giallo ("giallo", as we all know, is Italian for "yellow"). The scenery is exquisite and the interior decors of some rooms are typically modern/postmodern. There are notions of voyeurism in 'Tenebrae' and death is shown as a sort of beautiful but bloody spectacle. Agento also uses white as a primary colour during most death sequences thus resulting in dramatic, blood-stained frenzies. The colour white, of course, being the complete antithesis of most horror films. The killer, who photographs his victims, is shown more as an artist than a loony: much in the similar to Dr. Hannibal Lector. The killer is essentially the artist, and the victim, his sculpture. 'Tenebrae' is a decidedly energetic film and this is definitely helped by the amazing 'Goblin' sound-track. You just can't help but tap your feet to the music...great synth work.

There are enough twists, flash-backs, and red-herrings to stump even the most sharp-witted among us, although this does make the story a little confusing and 'patchy' in places. I doubt that most people would have pieced together the 'whodunit' element at an early stage, I certainly didn't. And despite the moderate body-count and amazing but equally bloody murder sequences there are deeper issues here. The discussion and subsequent argument about sexism during the film is a sort of reflection of the misogyny that surrounds the horror film itself. Nonetheless, the lesbian journalist who comments on this, `Tilde', is soon taken care of. This film is certainly well worth a look and if you are in the UK try and get an uncut version and enjoy the film in its full splendour; anything else just won't do it the justice it truly deserves. Watch for the impressive one-take camera-work that pans an entire apartment block before Tilde and her lesbian lover are killed; this is relatively impressive stuff. The only negative part of the film...John Saxon didn't do any kung-fu; it's simply tragic to deprive the audience in such a cruel way!! Hahaha!!

The Patriot (2000)

A polished tale...

[6/10 · 9 January 2002]

Ok, ok, ok...I may be English but unlike many of my myopic friends, I went to see this film twice and I thoroughly enjoyed it. It's been around a year since I last saw it, so forgive me if I seem a little rusty.

I've read enough literary sources on the American War of Independence to direct my own film on this topic (*laughs*) but I just couldn't dislike this film. I guess many British viewers perceived it as a follow-up to 'Braveheart' and, therefore, a swipe at them and their history...again. It seems strange though: the British are shown winning enough battles in 'The Patriot' and, if you recall, director Roland Emmerich is German. Now who were Britain's biggest and most trusted allies during the War of Independence...yes, Germany! Let's not forget either, Mel Gibson is Australian!!

'The Patriot' is concerned more with family values than war itself, but that doesn't strictly mean that there is any lack of bloodshed. The battle scenes are gory, don't get me wrong, but satisfyingly action-packed. There is also a worthy degree of authenticity here: the accents seem polished enough, if not a little too polished, the costumes are splendid, and the colonial scenery/architecture is impressive. It also seems unusual and refreshing that the film focuses more upon militia skirmishes rather than full-blown battles.

Mel Gibson's performance is great too. His character has many facets: caring, romantic, warm, loyal to his family, and almost comical at times. However, this is contrasted by his more brutal, barbaric and blood-thirsty side which we see in battle. Gibson manages to pull each and every one of these facets off in a decent enough manner.

While historically speaking the film isn't totally true to life ( - but then again, what is?) it will keep most watchers entertained. The film is most authentic and true to the war when characters are discussing it. Overall 'The Patriot' is a very enjoyable and touching movie if not a little too 'pro-American' for some viewers, especially us Brits! -'7'-