October Extras 2: Armageddon (1998)

OCTOBER 31, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2008 (DVD)

Last year on Halloween I did a sort of running commentary “review” of, well, Halloween, to close out my October Extras series. So to close off the 2nd (and final) round of OE, in which I’ve been sticking to NON-horror movies, I felt that the only way to go would be to give the same treatment to my beloved Armageddon. Of all the things I love, I get the most shit for this one, and hopefully by the end of the review, you will understand why I hold it so dear, if not actually agree with my sentiment. Since it’s not as beloved as Halloween (and thus readers won’t know it well enough to know what I am referring to), I will give a timecode so you can sort of understand what scenes I am talking about.

Please note – this is based on the director’s cut, available from Criterion. The timecode won’t really match up after the “last night on Earth” scene, which is where the bulk of the additions lie, if you are using the theatrical version.

EAT IT, FILM SNOBS!

00:00:12 Ah, the Bruckheimer logo. Still in its infancy, as it was only the 2nd film he released without Don Simpson (the other was Con Air – so this was the moment he became a hero. Sadly it’s been pretty much downhill since).

00:00:53 Heston has spoken! Already, people were bitching about the movie’s accuracy, because the Asteroid hit that Heston describes happened millions of years ago and yet the Earth model shows the current configuration. Hey guess what? FUCK THE FUCK YOU! IT’S A FUCKING BRUCE WILLIS MOVIE ABOUT BLOWING UP AN ASTEROID! Jesus assraping Christ, I can’t stand people who watch movies with idiotic plots and bitch about inaccuracy. Like the movie was this pinnacle of intelligence and logic, and it was all blown because the CGI planet had the wrong design. Shut the fuck up and eat your popcorn.

00:03:54 OK I’ll give em this one though – the shuttle blows up, Truman asks to play the tape back... and it’s edited together. Who can cut that fast? Not even Bay could!

00:04:26 The only minimal thing about this entire movie is the font on the credits. Seems like they should be exploding or in a “cool” font or something, but it’s like a standard 18 point Times New Roman deal.

00:05:32 Keith David! Five minutes in and our badass count is at two (other being Billy Bob). Actually three if you count Heston.

00:06:09 “Adaptation by” is one writing credit I have never understood. This isn’t based on a book. What did they adapt?

00:06:45 Hey allright, making fun of Godzilla. It came out the same summer and featured some of the same shit being destroyed, and it was boring. Why does Armageddon still get shit but not that goddamn movie? At least Armageddon wasn’t bastardizing a beloved character. Unless you count America as a character.

00:08:17 Suddam Hussein is dead, my friend. Way to date the movie.

00:08:31 Heh, the “I Love NY” guy getting killed tickles me. Bay has a bit of a mean streak that he’s sort of abandoned (other than Bad Boys II and his horror productions) since this movie.

00:10:10 Dottie! I love this line. In the original(ish) script, instead of Carl the ex navy guy, it was a couple of computer hacker guys. They would more or less resurface in Transformers. Bay never wastes an idea!

00:10:49 It’s the same president from The Rock! As the two films only share secondary actors (various military/NASA personnel) I like to think they are in the same universe.

00:11:31 The trailer actually sells this concept better than the movie. In the trailer, he says the basketballs and Volkswagens line BEFORE the “It’s the size of Texas” one. Way more powerful. Bad editing choice!

00:11:51 At long last, WILLIS!!! You can’t help but love a movie that introduces its hero as a guy who endangers the lives of Greenpeace hippies by hitting golf balls at them.

00:12:20 Will Patton too! Badass count is what, 5 now?

00:12:51 Well, Affleck sort of negates one of them. He’s OK in this movie, but he was still in his prettyboy phase. He’s much more interesting now.

00:14:15 My lady Liv Tyler. Part of why Willis is my hero? He totally boinked her during filming. And she plays his daughter. Christ that’s fucking hot.

00:14:47 A Bay tradition! Swirling the camera around during a scene with some dialogue to make it seem exciting. Totally works.

00:15:20 And now Willis runs around with a shotgun. I think this is the moment most douchebags in the audience gave up on the movie entirely. I think the scene is funny. Shows that they’re all immature (Willis purposely misses! He’s not really trying to kill him, Christ.), introduces a bunch of the guys... it’s nonsensical, sure, but beats him and Affleck talking it out like normal people. Again – the movie is dragon-less fantasy.

00:17:04 OK this scene bugs me. The last time we saw Billy Bob, he was telling everyone to give them any ideas they had, even if it was a doodle on a pizza box. Now they are presenting some ideas that seem OK by me and he’s shooting them all down instantly, and then he yells at them for presenting him with stupid ideas! Billy Bob, you can’t have your cake and eat it too man! Though he DID cheat on Angelina so much that she made him go to sex therapy, and then he fucked his sex therapist, so I dunno, maybe he can.

00:17:53 OK freeze it here – there’s a sign in the background that says “If you’re swearing, you’re swimming”. It was thrown up to provide a reason why none of these guys swear (PG-13), but you can barely see the damn thing. Also, back when Bruce had his own messageboard, I got reprimanded for swearing, and I brought the sign up. No one knew what the fuck I was talking about.

00:19:33 Billy Bob has one of the best lines here. “Pretty much the smartest man in the world, you might wanna listen to him.” Heh.

00:20:33 Here we go! “WE DRILL” FUCK YES. I have to pause here so I can write, because I’ll miss other shit. Look, 20 minutes into the movie they tell you everything you need to know. They are going to send oil drillers (possibly the same nuts we just met!) into space to blow up an asteroid. That is the most gung-ho, silly/awesome plot in the history of movies. All this other shit about the wrong Earth models or sound in space or any of that doesn’t fucking matter, because the movie is about OIL DRILLERS GOING INTO SPACE TO BLOW UP AN ASTEROID. Why bother making everything else accurate when the basic plot of the movie is retarded? It’s a summer popcorn movie. You know they won’t all die at the end and that the Earth will be saved. You know shit will blow up. Why the fuck do people give this movie such a hard time? I just don’t understand it at all. Its as if it was the only action movie to have questionable logic. Christ.

Also, and I’ve said this before – I judge a movie on how well the idea is presented. The idea itself is not of concern, so long as the cast and filmmakers stay true to that idea. This movie’s concept (oil drillers in space) is one of excess and silliness, and at no point, manipulative heart-tugging aside, do they abandon that idea. In short – if you can make a BETTER version of a movie in which oil drillers fly into space to blow up an asteroid, then let’s fucking see it, right now!

Also, spoiler alert, the closest thing we have to someone that lives up to the legend of John Wayne, one Mr. Walter Bruce Willis, blows himself up to save the entire fucking world at the end of this movie. That is like, cinematic perfection.

That’s it for ranting. You can stop reading now if you’re still on the “this movie makes no sense and therefore it sucks” team. Resume play!

00:21:00 Lot of drilling terms being tossed around; I bet I could work on an oil drill at this point, being that this is probably the 40th time I’ve watched this movie in the past 10 years.

Hey I just thought of something – I almost saw this for a FIFTH time in theaters on Halloween in 1998! I was in Salem MA and we wanted to kill some time, and it was playing at the dollar theater. We opted for more people watching though.

00:22:28 I wonder who Crazy Willy is. We need a prequel to this movie.

00:22:41 Hey allright, a completely unnecessary statutory rape joke.

00:23:19 Why are the NASA vans from California?

00:23:49 A rogue comet! Maybe the rogue oceanographer from Brucky’s unmade tidal wave movie can take it out.

00:24:26 Billy Bob’s commenting on the script here I think.

00:24:46 “Not a soul on earth can hide from it.” The irony of this movie is that if an asteroid DID hit, Willis would probably be the only one left standing, far as I’m concerned. Maybe Dolph too.

00:25:26 “Six billion people in the world, why you call me?” Well, Twelve Monkeys, Fifth Element... you’re pretty good at this “world saving” stuff, B.

00:26:27 Here we go, giant leap of faith time, even by this movie’s standards. Why can’t NASA guys build a drill? I can almost buy the “you need to trust the guys you’re with to be a good driller” nonsense, but I can’t quite figure out why they wouldn’t know forward from reverse.

00:27:14 If you DO have the Criterion, definitely listen to Affleck’s commentary over this scene. It’s fucking amazing.

00:27:30 No backup plan! Keep that in mind, I guess there will be one more rant in a bit.

00:28:10 OK, one other one besides that one. Folks bitched about the “it’s easy to train drillers to be an astronaut” shit, but like, they’re not actually flying the shuttle or anything. They sit there and do nothing for the entire trip until they land and begin to drill. I don’t see how that’s an issue.

00:29:30 The always beautiful Shawnee Smith... she was in The Island too, as another one of Buscemi’s conquests.

00:30:04 Hahaha, I love how they skip over Noonan in this “rounding up the guys” sequence. Noonan is such a great non-character.

00:30:33 Moment I don’t quite buy #2. It’s been like, a day, but AJ already has his own drill company?

Bruce is fiddling with a circular thing on a chain during this scene. I actually know what that thing is and what it means, even though everything about it has been removed from the movie (I don’t know if it was ever even filmed). It’s a piece of the first pipe he ever laid, and there was this going to be this thing where he split it in half and gave half to Affleck, and they’d like, put it back together when the job was done or something. Kind of corny, but I like that they bothered to give Bruce the prop for it.

00:32:38 Noonan! “Guess I can’t let you go up there alone.” Well, who the fuck are you? I’m probably the only person who even knows this guy’s name.

00:33:36 I wonder which one is the one that works for the mob? I bet it’s Noonan. Guy’s gotta have SOMETHING going on in his life.

00:34:40 Heh, Keith David actually nods a bit when Willis asks if they can tell them who killed Kennedy.

00:35:12 How would the whole “not paying for taxes” thing work? When they buy shit at the store, would they flash a card or something? “Oh no, see, I blew up the asteroid, so that will be 19.99, not 21.64. Thanks.”

00:35:45 Noonan’s 2nd line (of 4)! He’s also MIA from the scenes with the shrink for some reason. Maybe he doesn’t like Udo Kier.

00:38:00 Does Bruce not have to take any of the tests? Later on he doesn’t need to practice with the simulator either. Is he just that awesome or does Bruce (the actor) just not want to bother?

00:38:40 Colonel Willie Sharp! Aka William Fichtner. Aka the first actor I met when I moved to LA. I called him Willie Sharp and his wife laughed at me. I was sad.

00:39:35 This Jessica Steen chick is super hot. Why didn’t she have a bigger career? Or, any? I don’t think I ever saw her in anything else.

00:40:13 Heh, I love this part, they throw out all the useless shit inside the Armadillo. The eight million writers on this movie (one of which is the over-beloved JJ Abrams) did a good job of selling their blue collar, good ol’ boy attitude.

00:41:30 OK, Willis has to take the breathing and eye exams I guess.

00:42:02 Buscemi’s nod here is hilarious. I actually try to emulate it when required to nod in real life.

00:42:40 All this stuff about putting them in zero G and weightlessness and they don’t even show it!

00:43:18 I like how Oscar is taking notes here. I hope he makes copies for Noonan, since I don’t think they bothered putting him in the scene.

00:44:18 I want that model of the asteroid.

00:44:27 OK pause again, cuz here’s what I think will be my final rant/explanation for why no one should ever give this movie any shit about its silliness. This NASA guy breaks into the scene to explain that they are taking two shuttles because “At NASA we don’t take chances, we double up on everything!” Just 17 minutes ago (thanks, timecode!) we were told that oil drillers blowing up the asteroid is THEIR ONLY PLAN. Now, none of them might be rocket scientists (though they did have some on the movie for advisors, and there’s a commentary track with a few of them explaining how all of their advice was ignored), but I would think that if they were making any sort of intelligent movie, they wouldn’t let this line stay in the movie when it basically contradicts the plot of the damn thing. So for the last time people – THIS MOVIE IS SUPPOSED TO BE GOOFY FUN AND NOT TAKEN SERIOUSLY. EVER. NOT EVEN FOR A SECOND. NO, NOT EVEN THAT PART. Its unabashed borderline retardedness is the very thing that makes me love it so. Its 150 minutes of entertainment. And screw anyone who says Bay edits so fast that they can’t follow it. If you ask me, that makes YOU the dumb one, not Bay/the writers/Bruckheimer/me

00:44:32 Only 800 feet? They shoulda done 1000.

00:45:03 When I first saw this in theaters, this is when I got up to go to the bathroom. I only remember that because two days later when I went to see it again (I saw it 3x on opening weekend), I realized that I had missed one of my favorite lines at 45:42. “Did you say Grace? OK I thought you said Bear!”

00:46:50 Another “Everyone’s here except Noonan” scene. Where the hell is he?

00:47:20 Bruce says Oscar is the same age as Grace, but earlier he claimed the only reason she liked Affleck is because he was the only one in her age bracket. Seems she had a pretty decent group to choose from. AJ, Oscar, Noonan...

00:48:25 Heh, Willis is explaining how they will save the world. Noonan is MIA and Liv is there. Why does she need to know? SOMEONE GET NOONAN ON THE SET!

00:51:20 Here’s some of the new stuff. The loan shark says "Fuck" and then Oscar goes to church.

00:52:00 Ugh. The most maligned moment in the film, and rightfully so. The only reason all this shit is in the movie (it’s not in the draft I have) is because Titanic made 600 million fucking dollars. Suddenly, having a strong love story in the middle of a disaster movie seemed like a good idea. But this movie’s fun and goofy, so the love scene has to follow suit. And somehow, the best they came up with was having Affleck get cookie crumbs all over Liv’s impossibly amazing torso.

Bay fans will probably recognize this goddamn tree. It’s in Transformers.

00:54:00 Tears moment #1! Chick is my favorite non-Willis character in the movie, and the look on his face when his ex tells their kid that he’s a salesman fucking killed me the first couple times. I’ve since grown up and only get slightly teary eyed. I think it’s because I noticed that it’s sunny on his wife and dark on him.

00:55:25 The biggest addition to the director’s cut. Willis (his name is Harry, but come on, it’s Willis) goes to see his dad. I guess Lawrence Tierney wasn’t aware his scene was cut until he saw the movie at the premiere. Kind of a bummer, and he died a bit later. I’m glad Bay put it back, even though it sticks out like a sore thumb, especially since Willis is back at NASA two scenes later. Did his dad just happen to live nearby? Actually, come to think of it, I guess Chick’s wife is in the area too.

oo:57:00 Noonan’s third line! One more to go!

00:58:15 Is it just me or does this random Asian town look a lot like the town at the beginning of Final Fantasy VII where you have to have Cloud dress up like a woman for some reason?

00:59:00 This movie introduced me to text messaging!

00:59:20 Willis’ last night on Earth.... and he’s in a dark room with another man. Huh.

01:01:12 Tear moment #2! Actually this one only got me the 2nd time, because Willis is all “I promise I will come back” and now I know he doesn’t. Man, if I made this movie, Affleck would die. Willis would still rip the air tube out, but he’d leave him behind as well.

01:02:55 Everyone’s getting ready... except Noonan of course. Maybe he woke up early and is already on the shuttle.

01:03:38 More “make it romantic!” shit. Of course, since teenage girls are pretty much the only other people on my side for this movie, I guess I shouldn’t complain. Plus, Michael Clarke Duncan’s rendition of "Leavin' on a Jet Plane" is pretty spectacular.

01:05:51 There’s a guy on the far left of the frame here that kills me. He looks like he’s having an epileptic fit as he cheers.

01:06:05 It’s always daylight on Bay Earth! Nighttime is for assholes!

01:06:59 Tears #3! Happy tears tho. “That’s your DADDY!” Fuck yeah. Good thing that a 3 or 4 year old kid has a photographic memory for random strangers. Also that he’d rather watch shuttle coverage than a cartoon.

01:09:44 And so begins my favorite music cue in the movie, just called "Launch" on the score CD (which I own in both single disc official and 2-disc bootleg form!). I even have it as a ringtone now, which sucks for people calling me because I just listen to it rather than pick up. Like any asshole calling me has something I’d rather hear than Trevor Rabin’s amazing music?

01:11:00 Heh, the original teaser was just these shots of the shuttles taking off. “Man, that looks dull” I said. Stupid BC.

01:12:43 Owen Wilson is obviously out of character here, just laughing at something in the background.

01:13:08 Peter Stormare! I’ve lost the count for badasses. Let’s call it an even ten and move along. But really, this movie has a pretty fucking awesome cast. Other than Willis, at the time they were all pretty much indie guys, and now they’re all in the most Hollywood movie ever made. I like that. Never quite understood why they would need to refuel an hour after takeoff, but his addition to the film is welcome.

01:14:33 Wilson is STILL laughing about something!

01:15:18 Even Stormare agrees. “I am not gas station!” And why did HE have so much extra fuel that the Americans couldn’t scrape together? Let’s call this #3 for moments I don’t buy. Also, he’s completely batshit here, but in 20 minutes he’s fine.

01:17:00 I think this is new too, Wilson telling Stormare that they’re all brothers or whatever. It’s been so long since I have watched the theatrical I don’t remember.

01:18:20 This is a pretty fucking impressive tracking shot through the shuttle. It’s like a 6x6 corridor!

01:18:55 Killing Affleck off here would have been pretty ballsy too. Again, if not for Titanic, and given Brucky’s legendary rewriting process, I wonder how different this movie could have turned out if they were taking inspiration from a different movie. Deep Impact killed off almost everyone!

01:20:42 Willis is fucking awesome here. “WE’RE NOT LEAVING WITHOUT AJ!” You fuckin tell em, B! I bet he’d be OK if it was Noonan. Probably wouldn’t even notice.

01:21:42 Hey, Lev has a family! Who knew?

01:22:05 Billy Bob seems pretty OK with the idea of losing two men.

01:22:15 Key moment in the “they’re not stupid, they are just out to make a fun movie” gallery – a giant piece of the space station FALLS IN SPACE toward their shuttle, and they get away by... well, peeling out. In a shuttle. In space.

I love this movie.

01:22:50 Noonan’s fourth and final line. Take care, pal.

01:23:20 This bums me out. They have a 2.5 day trip to the asteroid, and we see none of it. I’d be interested in what they did the whole time. The French would probably make that the entire movie.

01:24:40 Not the best time to take off your engagement ring, Liv.

01:26:00 I dunno if the CG is just off or what, but that thing doesn’t look like the size of Texas compared to the shuttle.

01:27:40 Billy Bob’s such a bureaucrat... 10 min ago he was OK with possibly losing 2 men, but now that his shuttle is damaged he panics. And wastes a perfectly nice coffee mug.

01:28:00 This music is really sad too.

01:28:55 And, somewhere in this sequence, Noonan is killed. Wilson gets a death scene, Noonan, true to form, just disappears.

01:29:30 Bay really likes to show bodies being flung around to their death.

01:31:06 Heh, one time my blue (or green, or red, I forget) wire on my component TV connection was loose, and I didn’t notice until this scene, because I knew it was supposed to be all blue and it was all green instead. From then on, whenever I had to test the color on my TV, I’d put the DVD in and cue it up to this scene. Incoherent lighting does have its purposes after all!

01:33:02 I love the random NASA guy (Gruber) just wandering into the shot here. “By all means!” Yeah, we know you’re there. This movie only has one Noonan; you’re safe.

01:34:00 In theaters, my friend was pissed that Affleck and the others survived.

Also, Affleck finds Wilson’s body and weeps. The NASA guys are seen being sucked out of the shuttle, and Bear/Lev are alive as well. Gee, who’s not accounted for?

01:35:38 Some people don’t understand the “Dr Seuss’ worst nightmare” line. Made sense to me; there’s a bunch of random jaggles and joogles everywhere, except they’re not whimsical, they are scary. Christ, people.

01:37:25 More “oil driller” talk. They name their drill heads? No way NASA would know what to do here.

01:38:30 There was a deleted scene that explained why the Armadillo had a goddamn turret gun on it (to blast away debris and other such stuff that would keep the thing from driving forward, which I had figured out for myself anyway) but since it was cut and people need to bitch, this became one of the most maligned moments in the film.

01:39:52 Will Patton blew a tranny? Well that’s great, but he might want to focus on the job at hand.

01:41:00 The asteroid is pretty scenic here.

01:41:14 The only time Noonan’s death is acknowledged. AJ says he lost “two of his friends”. Hey Noonan – at least you’re considered a friend. AJ doesn’t give a rat’s ass about the three NASA folks who just bought it.

01:42:30 Green, blue, green, blue... no wonder all the “around the world” scenes are set at sundown. Bay was probably feeling that no one would recognize the film as his own unless he got to use his orange filters SOMEWHERE.

01:44:20 Hahahaha this extra kills me. He wants to get in the movie, so he needlessly wheels his chair out into the walkway, and then wheels it back.

01:45:46 Liv’s line is different in the trailer. She says “family” in the trailer but “father” in the movie. I like family better, it pays off Bear's “We all feel like a bunch of daddies” line from before. Man, everyone that complains that this movie is the longest trailer ever should at least point out that the trailer itself has better character development!

Also, Billy’s F bomb was in the theatrical cut. I was initially bummed that this movie was PG-13, but it was worth it for the power of that one line!

01:47:34 Aw yeah, an override the override action typing sequence!

01:48:12 “What are you doing with a gun in space?” BEING AWESOME, THAT’S WHAT! Actually I have no excuse/defense for this one. Interior debris?

01:48:50 I bet it’s hard to fight in those bulky spacesuits.

01:49:20 I love the look on Buscemi’s face here. “What did we miss?” Hahahah, I love him.

01:49:51 They have like 1.5 minutes to unload a nuke and fly away. If Willis didn’t pull off his “I never fail” speech then they’d all be dead and the asteroid wouldn’t even be damaged.

01:50:56 I WILL MAKE 800 FEET! should replace “Let’s win one for the Gipper”, if you ask me.

01:51:21 15 seconds left.

01:51:30 8 seconds left

01:51:34 6 seconds left

01:51:39 3 seconds left

01:51:44 The bomb is stopped, with only 2 (but really negative 8) seconds left to spare!

01:52:13 Good way to work in the obligatory “Houston we have a problem” reference.

01:52:38 Dude, the idea of just sitting on an asteroid watching it/yourself hurtle toward Earth is fucking freaky.

01:53:38 Stormare is fine, but now Buscemi is crazy. It’s what they call “Coen Brothers Regular Transference”

01:55:52 This is even scarier, the idea that you might just float around in space until you die. Because they have oxygen and maybe even some candy bars in there, so they’d probably live for a while, floating endlessly in an Armadillo tomb.

01:59:03 Dude! That’s so awesome. The change in gravity means that when you tackle a dude, you both fly like 30 feet. That or Bay/Brucky thought it would look cool.

02:00:08 MAXXXXXXXXXXXXXXXXXXXX! :( I liked him.

02:01:12 Into the storm cellar, morons!

02:02:03 Sacre bleu!

02:02:26 There’s another French movie. The asteroid has 4 hrs to hit after zero barrier. They could make an art film about a bunch of pretentious snobs arguing about the meaning of it all, and then end it before it actually hits.

02:03:30 AJ!

02:04:30 I like Willis summing up for all of us. “We got 250 feet, last transmission, last drill head!’ And no more continues.

02:05:17 Uh oh. Shit’s going wrong! Again! My friend (same one who was pissed Affleck didn’t die when the shuttle crashed) was angry that seemingly nothing worked in this movie. And to an extent, he’s right – this movie has the most amount of problems in a movie ever. In the next 15 minutes, the shuttle will fail to start, the remote detonator will break, a pipe will snap, Bruce will drop the detonator...

02:07:25 Why is he cutting a giant pipe with an electric turkey knife?

02:09:00 “What’s going on up there?” The Armageddon law of shit going wrong every 2 minutes, dude! Plus the law of killing someone off every 10 (adieu, Gruber). Get with it!

Gruber I think gets it worse than anyone in the movie. A fucking mini asteroid hits him right in the goddamn balls.

02:09:55 Again, when a NASA guy dies no one seems too concerned.

02:10:46 OK, “It takes two people to fly this thing”, Sharp says, effectively taking him and the hot girl out of it. But Lev seems pretty qualified, so I think Sharp was just being kind of a dick here.

02:11:03 Willis is so laid back about his offer. “I’ll stay and take care of it,” he says, as if he was offering to watch someone’s cats.

02:11:26 Why don’t they let Buscemi do it, exactly? What, he’s crazy, so he won’t hit the button and save his friends/get out of paying back the loan shark?

02:11:35 People also mocked that Sharp had “straws” already. Ever hear of a jump cut, assholes? It’s a few minutes later.

02:12:37 It bums me out that Willis doesn’t say bye to Chick’s face.

02:13:04 Here we go!!!

02:13:23 BAD. FUCKING. ASS.

02:13:48 “You gotta take care of my little girl now. That’s your job.” Oh man. Until my dad died I don’t think I ever bawled so hard (and, it should go without saying, that event doesn’t exactly make this part any easier to take). And fuck you. It’s SAD.

I think it’s mainly cuz Willis essentially just plays Willis in the movie. Like, he’s died in other movies and I never really cared, but here it’s like the actual Willis dying (to save ME, an Earth resident!). Which would make me sad. You know how they say giving a kid a goldfish or a hamster (something that dies pretty quickly) prepares them for when they lose an actual loved one (i.e. a person) later in life? I have Armageddon to prepare me for when Willis dies for real. Assuming he does (I’m pretty sure he won’t).

But true to form, it’s actually kind of hilarious too, because he’s like “I think of you as my son. Go marry my daughter.”

02:14:08 I think Affleck really does love Bruce. He was at his Hollywood star unveiling, and even spoke before Bruce took the stage (actually, so did Billy Bob – I think it’s safe to say that Armageddon is important to Bruce too).

02:15:51 I don’t cry at this part at least. Well, not anymore.

02:16:34 OK the shot of Chick crying kinda gets me. It’s his best pal! Could have at least given him a wink or a nod to let him know he was about to sacrifice himself for the good of Affleck’s cock.

02:17:20 For your consideration...

02:17:35 We haven’t had any actual problems for a few minutes, so they need to double up!

02:18:21 ALL MADE IN TAIWAN! This movie’s pretty good at combining laughs, sadness, and nonsense.

02:19:09 Well, maybe if you didn’t fix all of the problems in the Russian space station like that, it wouldn’t have blown up.

02:19:35 I’m no shuttlologist, but can a shuttle just sort of take off like that?

02:19:50 “Thank you, Harry”. Yeah, fuck you, Sharp, you non-volunteer.

02:20:34 “Come on Harry, push the button!” Yeah, blow yourself up man! What are you waiting for?

02:21:00 Harry may not know how to fail, but movies don’t know how to ever stop a bomb with plenty of time left.

02:21:10 I like to think that Bruce survived and is on one half of the asteroid. A sequel would find the other guys going to rescue him. Because really, if there’s anything more hilariously awesome than a bunch of guys going into space to blow up an asteroid, it’s a bunch of guys going into space to rescue their buddy.

02:22:30 Good to see Billy Bob and Keith David have put aside their differences in time to hug it out.

02:22:56 At long last, some Bay style orange!

02:23:28 They land rather smoothly. What the hell’s up with that? They could have had failed landing gear or maybe missed the runway or something. It seems anticlimactic.

02:24:25 OK this shot is kind of sad, because there’s a lot less folks getting off than got on. BUT, they are in different places. They should have lined up the same way to really sell the tragic loss.

02:24:41 “My dad and half of my honorary uncles are dead! Yay!”

02:25:00 BC’s final tears, the kid being reunited with Chick. Oh wait, the wedding got me too, when they show Willis’ photo.

02:25:40 Strippers get level 5 clearance, I guess.

02:26:30 This is a nice church.

02:26:45 The final fuck you to Noonan; if you watch the movie fullscreen (you son of a bitch!) you never see his photo.

Also, who the hell are the people in the front row? That one guy looks like the loan shark!

02:27:00 I like that Lev, Truman and Sharp went to the wedding.

Well, it’s done, 11 word doc pages later. I think I’ve said all I need to say on the subject.

Oh wait, there’s another disc!

It’s actually kind of slim, considering the movie itself. There’s a few deleted scenes (one including what would have been a fifth line for Noonan, and also the only time in the movie he was seen interacting with the characters when not all of them were required to be in the scene) and some funny outtakes. Billy Bob in particular doesn’t seem to be taking any of the movie seriously, plus they joke about putting Costner in the role instead of Willis (which I’d be ALMOST as OK with – and I still dream of a Willis/Costner buddy movie). There are also a few brief looks at key effects sequences, but nothing of major substance. There are also a whole bunch of trailers/TV spots, but the awesome original 3 minute trailer is NOT included, which pisses me off. I have it on my PC somewhere, but it’s a lo-quality QuickTime. I wanted it for two reasons; one that it’s awesome, and two it was the first trailer I ever downloaded, back in 1998. Still, the Super Bowl ad is included, so that’s cool (it was a pretty awesome teaser). A lot of these trailers feature stuff that isn’t in the movie or deleted scenes (Bruce apparently had a lot more dialogue on the asteroid). The Aerosmith video is on there too, but come on. There is also a pair of commentaries that I’ve already mentioned. The scientific advisor one is pretty hilarious due to how many times they point out how they were ignored, and Affleck’s comments alone make the other one worth listening to (Willis, Bay, and Brucky also contribute, though Willis is barely heard).

Also included is an essay by a film studies professor, defending the film’s inclusion in the Criterion lineup. I have no use for it (like I needed a reason?) but some of you folks may be interested to read it; I believe you can read the whole thing on the Criterion site.

All in all, a pretty good, if not spectacular package to celebrate the finest oil drillers in space movie of all time. I hope you enjoyed this running commentary. If you didn’t, I hope you don’t hold it against me.

What say you?


PLEASE, GO ON...

Teenage Zombies (1959)

OCTOBER 31, 2008

GENRE: MAD SCIENTIST
SOURCE: DVD (BUDGET PACK 4!!!)

OK, you might notice that the movie is called Teenage Zombies and yet “zombie” isn’t listed as one of the genre tags. Now, I know that pre-Romero, zombie movies had an entirely different meaning, but even by those standards this isn’t a fucking zombie. There’s a mad scientist who has rounded up a few girls and given them some sort of mind control shit, but they don’t goddamn DO anything in the movie, so it doesn’t count.

So what DOES happen in this movie? Well, let’s see.... nothing. Nothing at all. Near the end of the movie there is a hilariously inept “fight” sequence in which three of our good guys begin rolling around with three of the bad guys, but it looks like a bunch of drunks playing Twister more than any sort of combat. The closest it gets to actually being violent is when our heroine (the term being used looser than a stool after a metric ton of Olean Cheez-its) suddenly runs over and strangles the mad scientist chick. It’s hilarious, because the other folks are already “fighting”, so it just looks like she’s jealous of the other actors and decides to have some fun for herself.

Making this scene even more inert is the fact that it, like the 60 minutes before, is filmed entirely in one or two shots. At one point we watch what seems like 30 unbroken seconds of the three mini-fights. Entire scenes will go by in one master shot, even when only one person speaks throughout the whole thing. Occasional (VERY occasional) close-ups seem jarringly out of place on the rare times they occur, and you get the impression that they are being used to hide edits than the result of any sort of creative decision. I think there are about 100 cuts in the entire movie.

So is there anything to enjoy in this thing? Well, if you have the Mill Creek version (why in god’s name would you have any other?), you might like to know that for what I think is the first time ever, a chapter break (between ch. 2 and 3) actually occurs in between scenes! Most of the time they fall right in the middle of a scene (hell, a chapter starting in the middle of a line of dialogue isn’t unheard of on these things), so it’s cool that the stars aligned for this terrible film.

The only other thing I enjoyed (for lack of a better word) is when the “hero” is telling the cops about how his friend disappeared while water skiing. “Where was he heading?” the cop asked, and the kid replies that they were just water skiing without any destination, as if this was a critical character flaw. As opposed to all of the folks who use water skiing as a primary mode of transportation to get somewhere? “They were going to the mall, sir!”

So that’s about it. DVD mastering coincidences and one mildly amusing line of dialogue provides the extent of this movie’s worth. Otherwise, if you simply must watch a 1950’s “bunch of kids take on a villain” movie, stick with the vastly superior (if hardly what I would call GOOD) Bloodlust. At least that has Mr. Brady and a bow and arrow death.

What say you?

PLEASE, GO ON...

The Beyond (1981)

OCTOBER 30, 2008

GENRE: ITALIAN, ZOMBIE
SOURCE: THEATRICAL (REVIVAL SCREENING)

And so, around 11:50 (cutting it WAY too close for my taste; I actually pondered leaving after Gates of Hell so I could run home and put something on before midnight), the third film of the triple feature finally began: The Beyond (Italian: E tu vivrai nel terrore - L'aldilà; aka The Seven Doors Of Death), which was the only one of the three that I never saw in its entirety. I had gone to see it at the New Bev sometime ago (pre HMAD anyway), and dozed through about half. But even though I stayed awake tonight, it didn’t help much: this movie doesn’t make a lick of sense.

I mean sure, you can follow what is happening to a degree, but WHY anything is happening is beyond me, and things just seem to happen for the hell of it, rather than the result of any plot machinations. Like when the zombies surround the blind girl in her house. They don’t DO anything, they just stand there like mannequins. So she has her dog attack one of them, and just screams KILL! (or something to that effect) over and over. Then I guess the dog gets zombified too (it’s all offscreen), because then, after 30 seconds of him enjoying a nice backrub, he suddenly goes apeshit and eats her face off.

Non-humans are particularly vicious in this movie. There’s also a scene where a few spiders also eat a guy’s face off. Why would they do this? When did spiders decide that stinging/biting a guy wasn’t enough, and that they had to actually devour him? And then there is also a painting of a Rhinoceros. Not sure what the fuck that’s about, but it’s a nice painting. Or was that in Gates of Hell? This is the problem with being half-drunk and watching three zombie movies from the same director in a row; they all blend together. Oh well. It’s definitely not from Zombi, I know that much.

There was some unexpected hilarity to tonight’s viewing though, courtesy of a loud crowd mishearing a guy’s name. The hero’s name is John McCabe, but of course we all heard McCAIN when it was first said. This wouldn’t have been too much of an issue if not for a scene roughly 2 minutes later when a truck pulls up with “Joe’s Plumbing” written on the side. Yes, Joe the Plumber has a cinematic legacy, that of a bearded moron plumber who I think is the one to actually cause all these problems, as he goes into a flooded basement and begins knocking down entire walls, and is the first to die. Anyway, this caused a near riot in the theater. It’s too bad that Sarah Keller’s character didn’t share her first name; it’s possible that we would have collectively began to spontaneously combust.

This one doesn’t have as many memorable gore gags as the other two. There’s the aforementioned face-rippings, but they are nothing spectacular for Fulci. The best is a ridiculous bit where a woman, after unclogging a drain by pulling out a hairball bigger than her fist, is killed by a zombie who was in the tub (how she didn’t nudge him while feeling around for the hairball is anyone’s guess). He pushes the back of her head against a nail that is extruding for no reason other than to provide a gore highlight; this results in her eye flying out (this portion of the gag was ripped off in Friday the 13th 3, but at least they made it 3D so it’s not an exact copy).

The funny thing about this movie is that I actually own a copy on DVD, along with House By The Cemetery (it’s dubbed “Fulci Collection Volume 1”). I won it at Comic Con last year (2007) for being one of the guys who were parading around yelling "CROWLEY LIVES!" or something in support of Hatchet. It’s been out of print for years, so it was a nice get (and makes me suspect just HOW out of print these DVDs really are, if they can just hand em out to morons at Comic Con). I still haven’t opened it, and now that I see used copies going for 80 bucks or so on Ebay (and I am currently on the brink of unemployment), I don’t think I will be. The damn thing might have to be used to pay my electric bill in a few weeks. But I guess Grindhouse has just re-released it on their DVD label, with all the same extras, so maybe it’s not worth as much now anyway. Oh well. I’m still not opening it; there are a lot of features but I’m way behind on stuff as it is. Tomorrow is Halloween! You know what that means... 150 minutes’ worth of asteroid-drilling awesomeness! Plus a horror movie. Plus dressing up. Plus hopefully a Halloween movie. Plus...

What say you?


PLEASE, GO ON...

Non Canon Review: The Gates Of Hell (1980)

OCTOBER 30, 2008

GENRE: ITALIAN, ZOMBIE
SOURCE: THEATRICAL (REVIVAL SCREENING)

Next up in the Fulci triple feature, after Zombi, was The Gates of Hell (Italian: Paura Nella Città Dei Morti Viventi), aka City of the Living Dead. This was one of the first movies I saw at the New Bev, so it holds a special place in my heart. Plus, it has Giovanni Lombardo Radice, so I automatically love it, even if his role makes absolutely no sense in the grand scheme of things, and his death scene may be the most extraneous in horror movie history.

Radice plays Bob, a guy without any seeming motive or backstory to explain why he appears to be a zombie himself, why he has no home, and why his best option for a place to sleep is in the backseat of a car belonging to a guy who hates him. The rest of the movie is about a priest’s suicide opening a gate to hell and besieging a few folks around town (including another English journalist named Peter; apparently a Fulci theme), but Radice’s scenes don’t seem to have any connection to any of that. Then the guy who owns the car sees him, and despite being a seemingly reasonable man and upstanding citizen, he immediately shoves Radice’s head into a goddamn power drill. Don’t get me wrong, it’s an awesome scene, but you could cut the end credits or maybe the production company logo out of the film and it would have more of a narrative impact than if any of this stuff was removed.

The drill scene is one of two great gore highlights in the film. The other finds a girl suddenly puking up her insides. And I mean all of em: her intestines, her spleen... it all comes up, as a young Michele Soavi looks on in horror. Again, not quite sure what the scene has to do with anything (no one else has this reaction, sadly) but also again, it’s fucking awesome.

The story itself is fine. I like that it takes place on the “ruins of Salem” (Massachusetts), since Salem was never destroyed. Fulci apparently liked my home state; his House by the Cemetery (itself with a memorable character named Bob) also took place there. This led to my being confused by a joke; when the heroes discover that everyone in the cemetery where the priest killed himself is coming back to life, Peter says “Luckily he didn’t hang himself in Arlington!”. There is a MA town called Arlington (it’s where I lived before I moved to LA), so I thought he was inexplicably referring to it, but then my buddy explained he meant the Arlington National Cemetery. Yeah, I’m dumb.

This movie also has the most inexplicable ending in horror movie history. Our heroes escape the pit or whatever the hell they are stuck in for the finale, and as they do, they see a little kid named John-John (who kept loosely fitting into the plot throughout the film) standing a hundred feet or so away. They call to him, and he begins to run over. Suddenly, our heroes scream! Why? No idea. Fulci cuts back to the kid and everything looks normal to me, but there’s a freeze-frame and then the movie ends. Huh? Anyone catch what we’re supposed to be afraid of here, exactly?

Oh well, good movie.

What say you?


PLEASE, GO ON...

Non Canon Review: Zombi (1979)

OCTOBER 30, 2008

GENRE: ITALIAN, ZOMBIE
SOURCE: THEATRICAL (REVIVAL SCREENING)

The funny thing about Lucio Fulci’s Zombi (aka Zombie, aka Zombi 2, aka probably like nine thousand other titles) is that this was the third or fourth time I have gone to see it in theaters and the only time I managed to stay awake. At the recent all nighter at the Bev, I think I saw maybe 12 minutes of it (luckily, 3 of those were the zombie vs. shark scene). So even though The Beyond, which I had never seen in its entirety, was the last movie of the night (and thus most susceptible to my narcolepsy), I am glad Zombi was first, because I’m pretty sure it was my first complete viewing since I was 15.

See, Suncoast had this “dump bin” of budget titles, and one night I bought Zombi (called Zombi 2 on that VHS release), in an early attempt to “see more classic horror movies”, the very thing that led to my starting HMAD some 11-12 years later. And the back of the tape sold it as a sequel to Dawn of the Dead, so I was intrigued. And then annoyed, because I watched it and realized it had no relation to Romero’s film. Of course, this was like 1995, so I couldn’t just hop on the IMDb or Wikipedia and find out what the fuck was going on (especially since I didn’t have a computer at all until 1997). I was thinking about this a lot last night; it’s weird to think how relatively little time has gone by and yet my whole movie-watching experience has changed. Used to be, I’d watch the movie and be done with it, unless I happened to know of a Fango article in one of the issues I had. Now I watch the movie, the commentary, the deleted scenes, a making of, and then go online and read more trivia and such on the IMDb and Wiki, then read a few other reviews... it takes a lot of time to watch a movie!

Anyway, despite not having a goddamn thing to do with Dawn (which, we all know now, was never the intent anyway), it’s a fun zombie movie, and one of Fulci’s better films. It’s certainly the most coherent of the ones I’ve seen (which are sadly few, though now that I’m pretty much done with going through Argento, I’ll move on to Fulci), and while slow at times, has some top notch setpieces and amazing makeup effects to marvel at.

Plus, again, a zombie fights a goddamn shark! He bites it, punches it, rides it for a bit... it’s fucking insane! On the whole, actually, the zombies here do more cool stuff. The eyeball scene is more like something out of a Giallo than a zombie movie, and the rising from the grave scene is just plain great. Plus, they actually look DEAD, not just sick as some zombies do. They are rotted and filthy and they look like they have already started to turn into dust. Again, when I first saw the film, this annoyed me. “Why aren’t they green? Why doesn’t the blood look like pink paint?” But older, wiser me appreciates it all the more, because so many of the zombie films that followed these two go for a more Romero-y look than Fulci’s.

Back to the eyeball scene – this resulted in my being afraid to wear contact lenses, despite having glasses thicker than the glass on the Popemobile. When the splinter goes into the girl’s eye, it appears as if her eye is very soft, almost like tapioca pudding. Naturally, I thought this was what an eyeball actually felt like, and thus when I finally decided to get contacts, I was petrified to touch my eye, afraid I would “smush” it. It took me like three or four trips back to the optometrist before I was finally able to overcome this fear and get the damn things in and out. Thanks a lot, Fulci.

I also love how the hero totally gets a pair of innocent people killed. Ian McCulloch’s character (Peter) hitches a ride with a couple (the girl looks like Kristen Wiig’s “Aunt Judy” character) who are in the middle of their vacation, and by the end of the film they are both dead. Thanks for ruining our vacation, Pete! This was particularly amusing to me due to last night’s South Park, which had a lot of meta-comedy stemming from Craig’s wishes that the main guys would stop being so adventurous and getting everyone around them killed and/or in trouble. “This is why no one likes you. You go off on these stupid plans, and then you end up in a foreign country or outer space or something.” Oh man, awesome.

And being an Italian movie, there’s a lot of odd little bits that just send drunken horror revival crowds into hysterics, like when the girl removes her top in order to scuba dive. Or when the guy says “We’re gonna check up ahead!” and then proceeds to walk about six steps before beginning his investigation. And then, my personal favorite: Tisa Farrow is sneaking around a dock, trying to get on her dad’s boat, and she “hides” behind a barrel about half her size, pauses for less than 1 second, and continues on her way. It’s such a useless maneuver, I couldn’t help but cheer.

The next two movies are more fast paced and ridiculous, but this one is a better place to start for Fulci n00bs, I think. It’s got just enough of his “whatever” storytelling style to set up the other films, but on the whole it makes sense while retaining his signature gore scenes. Also: a girl showering has a mirror behind her, so we can see her front and back. Now I'll say it non-sarcastically: Thanks a lot, Fulci!

What say you?

PLEASE, GO ON...

October Extras 2: Hart's War (2002)

OCTOBER 30, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2002 (THEATRICAL)

My streak of seeing all of the master’s (that’s Bruce, not director Gregory Hoblit) films in theaters was nearly broken by Hart’s War. It came out during a heavy post production time on my student film, and tanked so badly that two weeks later it was already reduced to dollar theaters. I had to drive about 30 miles to see the damn thing. Since then, I’ve always made sure to see all Willis films on their opening weekend, just in case one tanks as bad as this one did (to date, it’s actually his biggest bomb – it cost more than Hudson Hawk and actually made less).

And that is a shame, because it’s also his most underrated movie besides Unbreakable (which is beloved, but not by enough people! Armageddon is a lost cause, but I can’t see why Unbreakable gets the occasional trashing). It’s not the most original movie, but I kind of like how they combine so many subgenres into one movie. It’s a mano y mano movie, the old veteran vs. the new guy type thing! No, it’s a war/POW escape movie! No, it’s a courtroom drama! How about a look on race relations? I’m surprised they didn’t throw a slasher or maybe a ragtag sports team turning their dismal season around while they are at it.

But surprisingly, all of the elements come together pretty well. It never FEELS like an over-plotted movie, and on top of that, it’s got some top notch acting. Willis is sort of on autopilot, but he’s also really not the main star of the movie (despite his top billing, he’s actually off-screen for large chunks of it and the bulk of his scenes have him sitting in a courtroom doing nothing). Colin Farrell is good despite his variable accent, and this was also the first big role for Terrence Howard, who is always interesting and is terrific here. The guy playing the Nazi colonel is also pretty great, and he has an interesting character to play. I wouldn’t go so far as to call him “sympathetic”, but he’s certainly not the same sort of cartoon villain one might expect. The film’s best scene concerns him and Willis having a sort of passive aggressive chat over a few drinks (I like how Willis’ character barely seems to be imprisoned; seems like he could just leave if he wanted to).

And in the end, it’s all about being a good American and all that, which makes its failure even more surprising (it was released 6 months after 9/11). You’d think a pro-America; our enemies can’t break our spirit type movie would go over well. But that weekend everyone went to go see Crossroads instead. Good choice.

The DVD has two commentaries (...), and also about a dozen deleted scenes that you can watch with commentary by Hoblit, who doesn’t say much other than “Oh, I hated to cut this.” Since only one of them has Willis, they are obviously not missed, but it’s interesting to note that one has a speaking line from Jonathan Brandis, who is pretty much MIA from the finished film (if you look carefully you can see him hanging out in a few shots). Apparently, being all but completely cut from the film was one of the things that led to his suicide, so nice job, Hobby!

What say you?


PLEASE, GO ON...

The Devil's Messenger (1961)

OCTOBER 29, 2008

GENRE: ANTHOLOGY
SOURCE: DVD (BUDGET PACK 4!!!)

It didn’t take too long for me to figure out that The Devil’s Messenger was not an anthology film by design, but something that was assembled. And sure enough, an IMDb research session revealed that the three stories were just episodes of a failed Twilight Zone wannabe called 13 Demon Street, and then they filmed a wraparound with Lon Chaney to package it as a movie. Nice try, er, whoever did that!

Since they are from TV episodes, you can guess that nothing fucking happens in the entire movie. No violence, no cool monster, no nudity... nothing. And it’s easy to see why the show failed; the stories (which I assume were the pick of the litter) all suck! One’s about a guy who finds a girl in the ice. He... really likes her! So he knocks out his buddy and thaws her, but she dies anyway. The end. Another one (which also has a guy knocking out his buddy for no real reason) was ripped off by Stephen King ("The Road Virus Travels North"), but his was a hell of a lot better. I can’t even tell what happened at the end of this one; the guy rips the photo in half, but then he dies. Or something.

The only one that was marginally entertaining was the third one. It’s a familiar story; a fortune teller tells a guy that he’s going to die at a specific time (midnight; which is convenient) and he tries to figure out how to prevent that. He doesn’t, of course, but seeing his attempts to do so were marginally amusing, and even though the twist end doesn’t make any sense at all, it’s kind of funny to me. Also, this one has one of the best lines ever: “You never used to drink before six!”. I myself never drink before 8:45 mountain time; this guy must be a real lush.

The best parts, naturally, are the wraparound segments with ol Larry Talbot. He’s supposed to be the devil I guess, and he’s having a grand old time. Unlike Karloff and Lugosi, I haven’t seen too many of these paycheck roles for Chaney, and it’s nice to see him in good spirits. The end of the movie is particularly great, as Chaney starts talking to “us” (that is, the presumed audience) and then nukes the entire world for some reason. We see that one house from the nuclear blast stock footage get blown apart for the 80 millionth time, and then the movie just ends. Kind of awesome. Why he decides to do this, I have no idea, but hey, points for originality.

Also, this was the most interesting-sounding of the Tales of Terror pack (not counting ones I’ve already seen anyway). If anyone else has this set, feel free to recommend a few, because I’m pretty disappointed with it thus far. Cabinet of Dr Caligari is on there, but I assume it’s a piss-poor transfer, so I’d rather get a traditional DVD for that one.

What say you?

PLEASE, GO ON...

October Extras 2: Primer (2004)

OCTOBER 29, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2005 (DVD)

As I pointed out in my Twelve Monkeys review, I am very nitpicky when it comes to time travel movies, particularly when things don’t line up properly after a guy goes back in time to change things. The movie A Sound Of Thunder was a huge source of frustration for me because of this (also because it was fucking terrible). So part of why I love Primer so much is that after 5 or 6 viewings, I am not only still figuring shit out, but I have also yet to see any real holes in the time travel logic.

The most original thing about Shane Carruth’s script is that, for the first time in time travel movie history, our POV is with people who are already in the “past”, as it were, of the time traveling versions of themselves. Before the main character is even aware that his device can be used to send people through time, his buddy takes him to a storage location, where he sees a version of himself from a day or two later. That’s awesome! Sure, it may make the movie even more impenetrable than it already is, but still, A+ for bringing something new to the table.

The most head-scratching element of the film, oddly, has nothing to do with time travel. It’s just the first 15 min of the movie, which are loaded with a bunch of technical jargon and a plan to build something that I’m still not quite sure I understand (something about making objects weigh less, I think?). None of it is really crucial to the plot, so it’s a shame that some folks tune out before they even get to the good stuff because they assume the movie is too over their head. Not that the time travel element is exactly dumbed down for Joe sixpack (who probably wouldn’t have rented the movie anyway), but it can be followed without needing a “Technical Manuals for Dummies” book. It’s like the first 15 min are a crossword, and the rest is a sudoku – you can’t be an idiot, but you don’t need prior knowledge either. I had the same issue with Crimson Tide; they spend like 20 minutes rambling about all this dry military/war/treaty stuff and then the rest of the movie is pretty simplistic and awesome.

I also love how low-key it is. Granted, the budget made that a requirement (this movie cost less than even Blair Witch), but the sort of “do it yourself” nature of the machine itself is pretty sweet; the thing is made out of refrigerator parts and a Catalytic Converter. I tried making one myself, but it didn’t work. And then I couldn’t drive to Best Buy for a new fridge because my car wouldn’t run.

The movie is a lot funnier than one might think too. It’s all dry humor, but that’s the best kind, IMO. The only thing in the first 15 min that I actually understand is when Aaron tells the story about how NASA spent millions developing a pen that would write in space, but the Russians solved the same problem by using a pencil. Also, the best line in any time travel movie ever: “I haven’t eaten since later this afternoon.”

But the funniest thing about the movie is that there are websites that are designed to help you understand the timelines and specify which character we are watching (i..e. “Present Abe” or “Future Abe”), and they are even harder to follow than the movie itself. I actually understood LESS about the movie after reading one.

The DVD has a pair of commentaries, which I listened to back in the day and recall enjoying. There are no deleted scenes or making of type things, which is fine by me. I kind of like having to figure it out for myself. And someday I will, dammit! I think I’m pretty close. They’re all jerks and the “rat in the attic” is actually just him from a few days later. Or earlier. Right? No, it was-

Fuck!

What say you?


PLEASE, GO ON...

Trackman (2007)

OCTOBER 28, 2008

GENRE: SLASHER
SOURCE: DVD (STORE RENTAL)

Other than the Night/Day Watch movies, I can’t think of too many Russian horror films (and those are barely horror), but I hope that Trackman (Russian: Putevoy Obkhodchik) isn’t indicative of their quality. While competently made and all, it’s one of the dullest and least imaginative slasher movies I’ve seen in quite some time. And I’ve recently seen The Gates Of Hell.

Basically, every single scene in the film was done, and better, in Scarecrows (Bank robbers hiding out somewhere with a monster), My Bloody Valentine (the killer looks almost identical), Creep*/Raw Meat (the locale, similar situations), and any horror movie in which hostages eventually align with their captors to fight off their common enemy (take your pick). I’m ok with “paying homage” to older films, but in order to keep my interest, you gotta do something new on the creative or the visual side of things. Neither writer (Valeriy Krechetov, who also produced) or director Igor Shavlak deliver on that end.

To be fair, it’s not a gorefest, and Krechetov’s script attempts to wring some suspense out of the proceedings; the body count is rather low and it takes a while to get to any of the carnage. But again, with a story this generic, anyone who’s ever seen a horror movie before (not just the ones I mentioned) won’t really believe that all of these guys are going to make it out OK, and you can pretty much peg the two survivors before the bank robbery that sets everything in motion occurs. And the reveal of the killer’s “identity” is pretty ridiculous. If you’re gonna swipe from old slashers, why not take a cue from Halloween and just leave it up to our imagination?

The DVD has no extras to speak of (it was actually the reason I chose it over some of the other Ghost House movies), but I do have to give thanks to Sony (or whoever it was) for providing an English language dub. While I used the Russian track for a while, it was nice to be able to switch over to English once it became clear that this one wasn’t going to hold my undivided attention; I could go into the kitchen and stir my rice without missing a single uninteresting word! I noticed that foreign films (particularly Asian ones) are increasingly lax in providing dubbed trucks for us idiots, so this was a nice little surprise. It’s also a damn fine transfer; lot of detail in the image, despite being very dark throughout almost the entire film (they enter the sewer in like the first 10 minutes), which makes 2 for 2 for this set after Reeker 2.

What say you?

*I saw Creep at the same festival that I saw Reeker, and now I have watched the Reeker sequel and a Creep ripoff back to back!


PLEASE, GO ON...

October Extras 2: Hitchhiker's Guide To The Galaxy (2005)

OCTOBER 28, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2005 (THEATRICAL)

AKA the movie that made me decide to always see a movie first*, Hitchhiker’s Guide To The Galaxy was pretty disappointing to me when I saw it during its theatrical run, and even though I picked up the DVD, hadn’t really planned on watching it again anytime soon. On a 2nd view, I’ve come around to a lot of it, but there are still two big problems that keep it from being the classic that I had hoped for.

The biggest problem is Mos Def as Ford. I usually like Mos, but he seems lost here, and fails to get any laughs out of what is, for my money, the novels’ funniest character. His mumbling delivery doesn’t help matters either. When I read some of the names that were tossed around as potential Zaphods (Robert Downey Jr, Johnny Depp), I can’t help but wonder how much better the film might be if Sam Rockwell, who was good at Zaphod but would have been a great Ford, was given the Ford role with one of those other guys as Zaphod instead. The rest of the cast is great (Bill Nighy is about as perfect a Slartibartfast as I could hope for), but this odd casting decision dampened a lot of the film's potential.

The other problem was that they mined too much from the book. It’s odd that the things that were invented specifically for the movie turn out to be the things that feel the most in line with the series’ sense of humor and wonder, but that’s exactly the case. Turning everyone into yarn for a few minutes, the point of view gun, etc... all these things, brand new to the mythology, work perfectly and feel very much from the universe I know and love. But things like the Vogons, the bypass, and even “42”, I dunno, they just don’t play as well onscreen as they do on the page. I found myself incredibly bored, which is something kind of odd when you’re talking about the destruction of Earth.

But maybe HG2TG was just never meant to be made into a film. It’s no secret that the first book has almost no actual story, so trying to shoehorn one into the events might just be too high an obstacle to overcome. It’s a shame that the film wasn’t more of a success, as the next four books in the “trilogy” were far more cinematic-ready (and just as funny). I am curious how many people saw the film without ever having read the book and fully enjoyed it, and then went out and bought the book(s). I hope many.

Like I said, I’ve come around a bit on it. There’s definitely some treasure to be found in here. The guide entries are hilarious, as is the opening song. And the scenes with Slartibartfast are the rare ones that are taken almost verbatim from the book and yet still retain both the humor and the genius inventiveness of it all; the shot of a guy painting a cliff-face on the “backup Earth” is priceless. And while I’m sick of it by now, Zooey Deschanel’s typically detached, almost autistic performance (drink every time she looks adorably bored!) was perfect for Trillian. Likewise, Martin Freeman made an ideal Arthur Dent, and Alan Rickman doing Martin’s voice is another stroke of genius. Again, with so much done right, I can’t help but wonder how I’d feel about the film as a whole if I never read the book.

The DVD has two audio commentaries, but, say it with me, “no time to watch them.” I did look at the rest of the extras, which are pretty slim: a few deleted scenes of no real interest, a generic “making of” that runs 7 minutes (insightful!), and a hangman game with Marvin. Why the incredible teaser trailer, or Zaphod’s “music video” which was used in the film’s marketing are not included, I don’t know, but the DVD is the poorer for it.

The death of Douglas Adams was one of the few celebrity deaths that really upset me. I had only gotten into his work about a year before, and felt that he had a lot more to say. His other series, Dirk Gently, had nearly unlimited potential, and he was working on a new book in the series when he died (his work-in-progress was released posthumously; the most frustrating thing I’ve ever read as it stops just as the plot is kicking in). And while I may have had problems with it, I know many fans love it, and thus it’s a shame he never got to see his baby translated into the last medium it had to conquer (having already been a book, album, radio show, tv show, play, and video game). On the plus note, he died at the gym, which gives me the best excuse ever not to go.

What say you?

*As long as I know a movie is being made. See, I know “the book is better”, which means that if I see the movie first, I can enjoy the basic story twice. I see the movie, and have fun, and then read the book, which has all the extra character and subplots to enjoy. But if I read the book first, I end up getting bored with the movie, because it’s just a stripped down version of a series of events I am already familiar with. I proved this; I stopped reading the Harry Potter books after the third one, and got bored with the first three movies. But I really enjoyed the 4th and 5th films, because I didn’t know what was going to happen. Then I go back and read the book, and it’s an even more rewarding experience. But again: this only applies to books that will likely be turned into a movie. I’m reading Clive Barker’s "Coldheart Canyon" right now; there’s no way in hell that will ever be a movie. But “Dread”, which I haven’t read yet and is being filmed as we speak? That one can wait.



PLEASE, GO ON...

No Man's Land: The Rise Of Reeker (2008)

OCTOBER 27, 2008

GENRE: SLASHER, SUPERNATURAL
SOURCE: DVD (STORE RENTAL)

I saw the first Reeker way back in 2005 at a film festival in Boston. I quite enjoyed it, but haven’t given it much thought since. But when I saw that there was a sequel, I got excited; I liked the killer and wanted to see more of him. Sadly, while No Man’s Land: The Rise Of Reeker is far from a bad movie, it’s mostly just a remake, and the small bit of the film that IS new doesn’t quite make up for the fact that the rest is covering the exact same ground, right down to the same twist ending.

Still, if you’ve never seen the original (which is likely), you can watch this one without any trouble, as it works just fine (possibly better) as a standalone film. Also, since you won’t see it coming, you can enjoy the twist far more than the more prepared fellow audience members. Spoilers follow!

But for those of you who, like me, enjoyed the first (and thus gave it the audience that led to a sequel in the first place), you might be a bit perturbed to see this followup essentially copy the original, right down to the exact same twist ending. Not since Escape From LA have I seen a sequel so content in doing the same damn thing. A bit of origin for the killer/ghost thing is given, and that’s all well and good, but it doesn’t change the fact that once you realize that writer/director Dave Payne is building toward the same “they were actually all dead the whole time” climax, it becomes a bit dull to watch.

Making matters worse is that this is a much slower and less gorier film than the original. By the hour mark I think we’ve had two kills, and one of them is so abrupt and random (and inconsequential, as it occurs to a character we haven’t met yet) that it shouldn’t even count. Since Payne is telling the same story, the least he could do is provide some cool new kills, but no dice. Even Home Alone 2 offered up new traps.

However, it’s at least competently made; and on film, which is a nice bonus (the original was as well, but these type of movies are increasingly being shot on HD). Plus, since it’s been a while since I have seen the original, I found myself somewhat engaged, particularly when the characters begin to get the idea that something’s “not right” (I love the bit of the car hitting the invisible barrier that keeps them from “escaping”). And the heroine, one Mircea Monroe, is hot as hell, which almost makes up for the lack of other “eye candy” (i.e. gore and kills).

But the biggest highlight for me was that there was a character who suffered from Anosmia (fuck you, Firefox, it's spelled right! It's a word!!!), aka the inability to smell. I myself suffer from this affliction, and I believe that this is the first film to address the non-issue of folks like myself who are unable to detect farts and are forever subjected to inane questions regarding how severe it is. “What about skunks? You can smell skunks at least, right?”. No. Do you ask a blind guy if he can see really BIG things? Of course, this gets the poor woman killed, because our smelly killer doesn’t sense him behind her. When I saw the original, I thought about a sequel in which a guy with Anosmia is able to trick the monster somehow (I didn’t really flesh it out), so I was bummed to see Payne go the other way. I should file a discrimination suit.

The DVD, released as part of Ghost House’s After Dark ripoff, is pretty packed with worthwhile extras. Payne apparently cares a lot about the “little guy” on a film set, so not only is his commentary populated with appearances by non-exciting crew members like the color timer and such, but there is also a 5 minute piece in which just about every crew member (key grip, caterer AND craft services folks, 2nd assistant camera...) is introduced by name, which is pretty awesome. It’s these men and women who really bust their ass to make a movie look good, so it’s nice to see them get some recognition. Back to the commentary, definitely keep listening to the very end; Payne reads an incoherent rant from a guy who apparently hated the first movie, and it's amazing to hear this guy's terrible grammar and pointless rage spoken aloud. He also encourages you to buy the movie instead of just renting, but it's too late for that on my end (not for you though! scroll down!!) There is also a more traditional making of, which is kind of bland until the point where they discuss visual effects. We see how they design an AMAZING means of getting a realistic “missing brain” look – if I ever make a movie I am totally stealing their idea. The video presentation is also top-notch.

So if you’ve never seen the original, I guess it doesn’t matter where you start. This one’s not as fun, but there is some backstory that the original lacked. Your call.

What say you?


PLEASE, GO ON...

October Extras 2: The Truman Show (1998)

OCTOBER 27, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2007 (DVD)

It’s strange how The Truman Show served as a sort of bridge between high school and college. I saw it on its opening day, which also happened to be the day of my HS graduation (quick, check box office reports and figure out how old I am!), and then I saw it again a few weeks later on the first night of college orientation. Maybe that’s why I get all nostalgic when I watch it.

Or maybe it’s because I think I, like Jim Carrey’s character, am on a TV show at all times. I base this on absolutely nothing but the fact that one day at college (near the end of my sophomore year) I noticed a girl from one of my classes walking out of her dorm, and then about 20 steps behind her was a guy who was obviously not a student. Being a horror movie nut, I assumed he was stalking her, so I mentally wished them both the best of luck and continued on my way, which was to the mail room. I got my mail, and as I walked back to my dorm, I saw the same girl walking out of her building again, followed by the same guy! What the hell?

This of course, mirrors a scene in Truman when he notices that a guy on a bike and a dented car keep driving by over and over. And the funny thing about that scene is that it’s the biggest plot hole in the movie. We learn throughout the film that the TV people are always listening, that all the “residents” have hidden microphones in order to keep in contact, etc. So why did the TV overlords allow Truman to see this “loop” and do nothing about it? He says what he’s up to, and there’s even apparently a bit of a delay on the dented car, so there was plenty of time for some tech to contact the driver and tell him to turn around so Truman wouldn’t get suspicious.

Otherwise, I love how they manage to explain away all possible plot contrivances in a reasonably solid manner. Truman is afraid of water because his father drowned, and he’s afraid of flying because “plane parts” fall out of the sky and nearly kill him. There are still some minor issues with the setup (why would they even HAVE a travel agency?), but it’s good enough for me. Part of me wishes that more of the idea of it being a show was explored (he starts to get suspicious almost right from the start), but that would make for a very long movie.

One thing I definitely love about the setup is how we never see any of the TV folk for the first half of the movie (other than the “opening credits”, which are the credits for the show, not the movie). We see some people watching it, but the technicians, and Ed Harris’ character, all that stuff is saved for a key moment, at which point the movie becomes more of a back and forth between the two worlds. It’s a genius idea; we get to buy into the “reality” of the world before the curtain is lifted and we see just how much they are manipulating: the sun, the tide, everything is manufactured.

The score is amazing too. I used to cue up the final scene just to listen to the music before I finally got the soundtrack. It’s from a variety of composers, including Philip Glass, something that usually annoys me, but it works perfectly here. On that note, it’s odd how many of my all time favorite scores came in 1998: this, Meet Joe Black, Armageddon, Thin Red Line, Saving Private Ryan, What Dreams May Come...

(I didn’t say that last one was one of my favorite MOVIES, but it’s a damn good score)

Truman was actually the very first DVD I ever bought, on a barebones release that wasn’t even presented at the right aspect ratio (or maybe it WAS the intended ratio, 1.66:1?). I have since upgraded to the special edition that came out in 2005, which is worth the upgrade. A few deleted scenes, a pretty comprehensive making of (split in two parts for some reason), and a look at the FX make up for the lack of a commentary by Peter Weir (and where the hell has he been since Master and Commander? Come on man!). It has since been issued on Blu-Ray as well, but other than the idea of looking at Laura Linney (super hot in this movie) in High Def, I don’t see the need to upgrade yet again.

This remains the only “serious” Jim Carrey movie to make the same type of money his goofy comedies do, and rightfully so. It’s easily his best film (I should note I’m not a huge fan of any of his comedies; even as a kid I didn’t care much for The Mask or Dumb and Dumber, though I liked Liar, Liar a lot), and he managed to find the perfect balance between comedic and dramatic acting here. It’s probably a safe bet that if not for this movie’s success, stuff like Eternal Sunshine may not have happened, at least not with him. Show some respect, Charlie Kaufman loving hipsters!

What say you?


PLEASE, GO ON...

October Extras 2: Fletch (1985)

OCTOBER 26, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: HD-DVD (OWN COLLECTION)
LAST SEEN: 2007 (DVD)

I consider Fletch to be one of my top 3 favorite films, along with Armageddon and Halloween. Each has a different reason for being there; Halloween inspired me to be a filmmaker, and Armageddon is just pure entertainment from start to finish (given the choice on a random day, I’d probably watch Armageddon over Halloween, simply because its kitchen-sink and frenetic style lends itself to repeat viewings more than Carpenter’s otherwise superior film). So why is Fletch in there? Simple: it inadvertently formed the very nature of my being.

See, I watched the movie constantly as a kid, and then stopped around 1992 (around when I started really getting into horror and also losing interest in Chevy due to his increasingly bad films). But when I finally gave it another watch in 2000, I was amazed to discover how many of “my” mannerisms and odd sayings were actually from Fletch. I’m STILL picking up on some; there’s a bit in the film where he somehow manages a sarcastic nod as Stanwyk is explaining why he wants Fletch to kill him, and when that scene came up today I realized I do the same thing when someone is boring me.

And that’s just one example; others include: “Excuse you?”, knocking on a door and saying “Come in!” myself, “No, never, never...”, turning and watching someone leave a room for no reason (the “Frida’s boss” scene), and many others that would take too much effort to explain away. In short, if you’ve ever thought I was a bit odd in person – just watch Fletch, and I’ll make about 34% more sense. But I swear, it was all unintentional; other than actual quotes (“I’ll have a Bloody Mary, and a steak sandwich, and... a steak sandwich please.”) I have never intentionally referenced the movie, and wasn’t even aware these things were “from” anything, let alone all one guy in one film.

The real draw, though, is just how damn effortlessy funny Chevy is in the movie. If anything he could stand to drop the act a bit, as it borders on annoying at times. Like when he goes to Stanwyk’s for the first time, and says four rather unfunny lines in a row. Just shut up, man! Or at least say something that aids the plot. Still, for every line that doesn’t work, there’s about 5 that do, and I still laugh my ass off at some lines, after countless viewings. One part that always kills me is when he first meets Stanwyk. “Look, are you on a scavenger hunt or did I just forget to pay my dinner check?” And even more amazing is how funny the movie is when Chevy is the only one who gets any laughs. Everyone plays the straight man (though Arnold T. Pants, Esquire and Frank get a good line or two each), and while some movies like this fail miserably, Fletch succeeds.

Part of that success is due to the plot, which is hardly labyrinthine but certainly more developed than your average 80’s comedy. I dig how the two plot threads ultimately combine, Johny Gossamer style, and it’s a pretty decent mystery as well. One thing the sequel got wrong is a completely obvious villain in a single story, which served only to provide Chevy a means of wearing disguises. There are two villains here, and while it’s hardly a shock when Karlin is revealed to be one of them, the way he figures into the other plot is a decent enough surprise.

The “Jane Doe” special edition is pretty disappointing. The primary issue (besides the fact that director Michael Ritchie, and now novelist Gregory MacDonald are both dead) is that Chevy had no involvement with it. He’s not against contributing to new DVDs (the first two Vacations, for example) and since Fletch is his signature role, his absence is quite puzzling. Still, there’s an OK enough retrospective (it would be even better without the “host” who tries to be funny, and fails miserably), and a brief look at the makeup appliances. That’s about it. The original DVD was out of print forever, so when this edition came out fans were excited, but beyond having a new transfer for the movie there’s nothing here worth buying if you had the original. I like that it was one of the last movies to be released on HD DVD though; it’s the least necessary movie for a high def transfer ever. See Fletch’s... uh, Laker jersey in glorious 1080p, I guess!

What say you?

PLEASE, GO ON...

Venom (1981)

OCTOBER 26, 2008

GENRE: PREDATOR, BRITISH
SOURCE: DVD (ONLINE RENTAL)

When I see Oliver Reed or Klaus Kinski in the cast list for a movie, I know that if nothing else, it will have some glorious scenery chewing. I see them BOTH in the list, I expect greatness. And with a killer snake in the mix, there was no reason to believe that Venom would be anything but amazing. Sadly, that is far from the case; I think the 2005 Venom (the voodoo zombie killer in the swamp movie) was more exciting.

Part of the problem is that it’s not even really a killer snake movie. It’s a siege movie, a la Desperate Hours, with the snake being more of a plot complication than a plotline. Other than the occasional “POV” shot of the thing roaming the heating ducts, it’s pretty much MIA for like 45 minutes straight. Come on now.

Still, it wouldn’t be so much of a problem if Kinski and Reed were allowed to cut loose, but the two of them are more or less subdued throughout the movie. Reed fares a bit better, since he gets to shout at a little kid for no reason (his repeating “He’s a cheeky little bastard!” over and over is the movie’s highlight), blow away a cop, and of course, drink. Actually I’m not sure if he actually gets the drink; after offering every hard alcohol in the book to a hostage, he opens the liquor cabinet and the snake makes a rare cameo. No one dies as a result, but the cabinet is knocked over, so I guess no booze for him!

Kinski, on the other hand, is pretty bland. His showdown with the snake is pretty awesome, but otherwise his role mainly consists of standing around and telling Reed to stay calm or whatever. Why get such a legendary nutjob to play a generic villain? Hilariously/sadly enough, he turned down a role in Raiders of the Lost Ark (presumably, not Indy) for this forgotten and dull movie.

And what’s with director Piers Haggard's obsession with stills in this movie? Several establishing shots are just still images, and other shots are lengthened as the camera will pan to something and then inexplicably freeze. Worse is when the snake attacks Reed; they cut to his perfectly still feet as the snake crawls on the shoe. One can assume he is “frozen in fear” or whatever, but even then there would be SOME motion in the damn things. Couldn’t a PA or a grip have shaken the leg a bit from off camera? The snake is also rather unanimated; it looks so fake at times it’s a wonder they bothered ever using a real one.

Strange for a British film, it’s not very amusing either. There’s one funny part in the film’s final act, when a cop is preparing to enter the home. He argues about goggles and explains why he can’t bring a shotgun; it’s very dry and amusing. But otherwise it’s pretty humorless. Since the movie doesn’t deliver on the horror front, the Brits picked a bad time to play it straight.

One good thing is Michael Kamen’s score. He rarely did horror films, and while it often doesn’t match what’s occurring on screen (its all ominous before anything bad is even hinted at), there’s still a lot to enjoy about it. He is best known (to me) for his Die Hard and Lethal Weapon scores, but he also did The Dead Zone, another great and underrated horror score. Apparently his Venom score wasn’t released on CD, which is a damn shame. A further shame, he died a few years ago, depriving us of having him score Die Hard Faux, which would have been the highlight of that film as well (Marco Beltrami was hardly a suitable replacement).

The DVD has a commentary by Haggard. It’s pretty fascinating at times, as he mainly just talks about how everyone on the movie hated each other; in particular Kinski and Reed (not a big surprise, given their legendary egos). He also talks about how he came in after Tobe Hooper was fired. All that, plus the frequent silence, results in a commentary in which you learn more about behind the scenes drama than onscreen action. It’s the only extra of note, but since the three primary stars are dead, I can’t say I’m surprised.

In closing, I would like to ask: can someone PLEASE make a good killer snake movie? Right now my top pick is Anaconda fucking 2.

What say you?


PLEASE, GO ON...

October Extras 2: 3000 Miles To Graceland (2001)

OCTOBER 25, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2001 (THEATRICAL)

One night in college, during one of many editing sessions on our thesis film, the director and I decided to take a break by heading to the nearby theater (best thing about my school? Multiplex in walking distance) to see 3000 Miles To Graceland, which was mis-marketed as Die Hard In A Casino. So imagine our surprise and delight to discover that it was really the biggest budgeted grindhouse movie of all time.

The casino/Elvis stuff is only the first half hour of the movie. From then on it’s pretty much a mano y mano fight between Kurt Russell and Kevin Costner (two of my three favorite A list character actors; if Willis was in it too it would probably be my favorite movie of all time), with a super hot Courtney Cox along for the ride. And even though it’s not the film that was marketed, it’s still sort of traditional in terms of plot, but there are so many odd little moments and random asides that elevate the movie out of generic action drama and into pure “Awesome” land.

For example, can you name another film in which our bad guy takes a personality quiz in which he admits to masturbating and having been raped by another man? Or with a kid that likes to watch his mom fuck strangers? Or one in which a guy mows down like twenty cops and civilians, but when he is shot the soundtrack plays heroic sad death music? Midget Elvis being shot to death? CGI scorpion deathmatch? Badass offering another badass a jelly sandwich? This movie has all of the above!

The key moment, for me anyway, comes about halfway through. For no real reason, a cop pulls Costner’s character over, but stops about 50 yards back. The two men get out of their cars, and it is immediately and mutually understood that they are going to have a pistol duel. Why? Who knows? But it’s fucking awesome and hilarious, and that’s all that matters.

Russell, of course, is a criminal, but also our hero, so he can’t have as much fun as his co-stars. We know this almost right from the start; during the casino he merely wires the elevator to aid their escape while the rest of them kill cops and casino patrons. Then, when he joins the fight, he shoots some glass to prevent the cops from proceeding, rather than kill them. Aww, what a softy. But he gets a few badass moments in, such as when he teaches a little kid not to smoke by giving him a filterless cigarette. Fathering skills through badassery!

Sadly, the film has no real legacy. The DVD is as barebones as it gets (only the misleading trailer is included), and writer/director Demian Lichtenstein hasn’t been heard from since. Costner and Russell probably have no real love for the film either, not only did it tank, but they apparently were at odds during the post production, with the studio actually allowed each of them to submit their own cut of the film (the mental image of Snake Plissken sitting down at an Avid is fucking awesome). I think they went with Costner’s cut, so as a fan, I’d love to see how Russell’s differs. But the most damning/surprising thing about the movie is that its IMDb board has not a single thread on it, which is unheard of. Even the most obscure little horror movie that I watch has at least a couple threads (if only by their own director/producers), but 3KMTG, a 50 million dollar studio film with a ton of stars, had zip. Sad. Hopefully, in twenty years, my successor will be discussing how he went to the New Beverly for Grindhouse night and they showed it on a double feature with Costner’s Mr. Brooks; that would be pretty awesome.

What say you?


PLEASE, GO ON...

The Bird With The Crystal Plumage (1970)

OCTOBER 25, 2008

GENRE: GIALLO, ITALIAN
SOURCE: DVD (ONLINE RENTAL)

If one were to see a modern Argento film and decide to start seeing his older films, I would recommend they see The Bird With The Crystal Plumage (Italian: L'Uccello Dalle Piume Di Cristallo) sooner rather than later. Not that it’s a bad film by any means, but it was the first of what would be several Argento films in which a traveling American witnesses a murder and becomes entwined with the police investigation as more murders pile up. Having already seen Deep Red and Tenebrae, a lot of the impact of the more simplistic and crude Plumage was lessened; it would have been nice to see him refine the formula in the later films by seeing them “in order”. Oh well.

Like those other films, our hero is briefly a suspect, though thankfully not for the entire time. In fact, one of the things I like most about the film was the minor friendship that develops between Sam (the American) and the head police investigator. I suspect that the two of them probably still exchange Christmas cards.

And of course, the murder scenes, while not as plentiful here as in the others, are pretty great. There’s a home invasion one about halfway through, and the attack of Sam’s girlfriend is one of Argento’s finest setpieces of its type. Also, while the reveal of the killer is a bit on the silly side, it’s a pretty straightforward movie; there’s none of the trademark nonsense so prevalent in his later films. There’s a guy who eats cats, but that’s about it. And that’s actually played for humor – an element that is actually pretty rare (intentional humor anyway) in his films, particularly the giallos.

Speaking of animals, the bird of the title is actually pretty inconsequential to the plot. It’s a hint about a red herring. Why he decided to name the movie after something that could almost be cut from the movie is beyond me; it would be like Hitchcock naming his movie after the bank that Janet Leigh works at instead of Psycho.

Maybe he should have named the movie “The Differences Between Trannies and Pervs”, because that is the subject of my favorite part of the film. The cops assemble a lineup of perverts to see if the hero recognizes any, and a tranny named “Ursula Andress” is brought in. Suddenly, the chief guy yells “No! How many times do I have to tell you, she belongs with the transvestites!” This is pretty awesome, because a. it suggests that they have a stock group of criminals that are roaming the streets and always available for a lineup, and b. we can assume that this entirely English-speaking section of Italy has a need for a group of transvestite murder suspects.

I can only hope that the DVD released by Blue Underground is an improvement on this. The non-anamorphic transfer wasn’t too surprising, but this fucking thing didn’t even have a menu. Hitting “menu” just restarted the movie, and when the movie was over, the disc just stopped entirely. It also has a barcode on the actual disc, so maybe the damn thing didn’t even have a real case. It was released by Westlake Entertainment, whoever the fuck they are. Then again, I am so busy lately, I wouldn’t have time for a commentary or anything, so I guess in the end it’s OK to have such a barebones release. If the BG release has any “must see” extras, please let me know.

What say you?


PLEASE, GO ON...

October Extras 2: 12 Monkeys (1995)

OCTOBER 24, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2004 (DVD)

I remember going to see Twelve Monkeys in theaters and wondering when Bruce was gonna shoot some guys. At the time, the only time I had seen him in non-action films were in supporting roles (Mortal Thoughts, North, Pulp Fiction...). It was the first time I became aware of his existence as a guy who could carry a movie without a single explosion. But once I realized that this was not John McClane in post-apocalyptic Philadelphia, I found I quite enjoyed the movie, and as a result, I now see each and every Bruce Willis movie (In theaters! In fact, other than The Jackal, this began my still-unbroken streak of seeing his films theatrically).

Apparently, Terry Gilliam had the same opinion I did; he said that he wouldn’t cast Bruce if he did that “steely blue eyed look”, which is pretty hilarious. That’s one of the many great tidbits to be learned in the disc’s only extra feature (besides the commentary): a feature length documentary about the film’s production. Compared to Brothers Grimm, Don Quixote, etc (is it just me or is there a book or a documentary about the troubled production of just about every single Gilliam film?), the production was a snooze, but there is just enough sort of tension and trouble to elevate the film far above the usual EPK bullshit contained on a studio sanctioned DVD.

The film is the real draw though. It’s a well crafted time travel tale, with no apparent holes in the narrative (I am a fierce nitpicker when it comes to time travel movies). I like the idea of a time travel movie in which only a few years are covered (except for the brief WWI bit, it’s all back and forth between six years), and it’s rare for the idea to be used in a completely humorless setting. The cast really sells it too; Bruce is terrific as the shell-shocked would-be savior. And Brad Pitt (this is the movie in which he earned my respect as well) is simply incredible as a guy so crazy that he makes Willis’ character look completely normal in contrast. Rounding out the trio is Madeline Stowe, aka the hottest “old enough to be my mom” woman in the world (well, tied with Rene Russo). She’s a bit annoying towards the end when she starts to believe, but otherwise it’s one of her most memorable roles. There are a few familiar faces in the supporting cast as well; I had forgotten that David Morse was in the movie (him and Bruce would square off again in the underrated 16 Blocks), and Chris Meloni pops up as a detective.

I can’t recall if it was intentional, or if the DVD just plain sucks, but the transfer is very soft. Gilliam’s images should be presented as clearly as possible, but if this was his intent, so be it. Either way, it’s always an interesting looking movie (I still love the random shots of bears and elephants just walking around Philadelphia), with the traditional gonzo set designs and off kilter framing that he excels at. This was his most financially successful film (in that it was the only one that, well, was), and in many ways his most accessible as well (tied with Fisher King anyway), and I hope it turned some folks on to his other films. His movies are not always perfect, but they are seemingly always interfered with in some way as well. I hope he is someday given a blank check and total control, just to see what he comes up with. It may just be that he needs a director friendly studio (which Universal is) to step aside and let him work and only intrude when it becomes a major concern over how their money is being spent. It’s worth noting that this and its followup, Fear and Loathing (also Universal), are pretty much his only films in which production problems are NOT part of its lore.

What say you?


PLEASE, GO ON...

Saw V (2008)

OCTOBER 24, 2008

GENRE: SERIAL KILLER, SURVIVAL
SOURCE: THEATRICAL (REGULAR SCREENING)

Since I have watched about 400 horror movies since Saw IV, I watched it again yesterday afternoon to prepare for Saw V; refreshing my memory with the loose plot threads: who was alive, who was dying, and who was simply MIA (that one is still, and may forever be, Cary Elwes' character of Dr. Gordon). And I found that I actually liked it more a 2nd time. While I've always had trouble picking a favorite, IV would have been the one I would immediately took out of consideration, but not anymore. It was a lot of fun a 2nd time around, and credit to both Darren Bousman and writers Patrick Melton and Marcus Dunstan, I once again found the ending a real nailbiter, even though I knew what was going to happen. I was actually hoping that Riggs would figure out the riddle and keep Matthews' head from getting squished this time.

(He didn't.)

Anyway, after viewing V, I can DEFINITELY say that this is NOT my favorite, nor will it ever be. And if you're familiar with the Saw films (and my reviews for them), you'll know that spoilers are almost impossible to avoid, so read forward with caution!

Unlike the last couple films, we are actually treated to a sort of "previously, on Saw" sequence as the film begins. Agent Strahm's seeming capture (and death of Jeff) are repeated in full, which brings us up to speed right off the bat, a nice touch. And the next half hour or so lives up to the Saw standard. We get a twist (another "you've been watching a flashback!" type one), and the traditional two plot setup is laid out. The "A" story is, of course, Hoffman trying to make sure Strahm doesn't find out that he is working with Jigsaw. In what may be the film's best scene (and the most badass resolution to a "trap scene" in the series' history), Strahm proves that he is not going to be so easy to dispatch, and a seemingly intense game of cat and mouse begins. The "B" story is similar to that of Saw II, in that a group of strangers wake up in yet another dungeon, and have to figure out why they were chosen, what they have in common, etc.

So far, so good, right? But I dunno, something just goes off the rails. I was having a lot of fun at first, but then, suddenly, I realized I didn't care anymore about what was going on. Part of the problem is that the "B" story never really gels into the "A" story, or even the story of any of the other films. For the first time in a sequel, there seems to be a new plot thread emerging that is, shock, unrelated to anything or anyone we've already encountered. The big reveal over how these new people are connected to each other is pretty anticlimactic, because it's a reveal that means nothing to us. We can ASSUME that it's merely the setup for part VI, but that's really not in line with Saw tradition, and I began wondering why the characters didn't just figure it out sooner, rather than turn it into a reveal that had no significance to us. I admire that Marcus and Patrick* (who have blink or you'll miss it cameos) are trying to move away from the sort of revisionist/rewriting history stuff that the sequels have increasingly dove into headfirst, and you can't really blame them for trying to move on and open up the story a bit, but it feels jarring to have half the film devoted to a plot that doesn't seem connected. At least, not yet.

See, they've always left plot threads open, and the climax of each film has always set up the next one, but for the first time it really feels like they are only giving us half a movie, rather than a sort of contained story that fits into the big picture. Even III, with its "Your daughter has an hour to live" or whatever ending, felt more satisfying a climax than the one presented here.

And that's not the only problem with the finale. The tagline for this one is "You won't believe how it ends", and that is true, because I can't believe the end of this film is almost an exact replica of the one in IV. Once again, we have 3 law enforcement guys (hell, 2 of them are the same ones from IV's ending) walking around hallways and dark rooms, and the audience is scrambling to try to figure out where they are in relation to one another. And then the one we are rooting for does something that you think is the right move, but turns out to spell his doom while the bad guy gets away. The second I heard the traditional "Dundun DUNNN!" theme start up, which signals the end of the film, I was dumbfounded; "It's ending HERE?"

Again, with nearly everyone dead at this point, there really is no choice but to start up major storylines and introduce several new characters, so I can't fault the writers for doing just that. But again, it still feels way too unresolved (I won't even get into the non subplot of Jigsaw's wife and her box, a dangling plot thread that left several people particularly angry as they were walking out of the theater). If this was a TV show it would be one thing, but we have to wait a full year to not only know what happens in certain plot lines, but also know why the hell we should care about them in the first place? That's not cool. The 5 strangers are never really developed beyond their first names and what they do for a living, and while they are killed off in an order I found surprising (my pick for last man standing got offed almost instantly), their detachment from the Saw mythos (so it seems) and the rather uncreative traps in their scenes resulted in me wondering why they were in the film at all.

Speaking of the traps, I would think that since director David Hackl was the production designer on the films that he would have some really good ones here, but no dice. The only really memorable one is the initial trap for the 5 strangers, and even that is sort of similar to the "tug of war" mausoleum one in IV (except split 5 ways). The others are forgettable, and shockingly un-gory as well; this is by far the least bloody in the series. Not that I'm complaining - the torture scenes are the least interesting thing about these movies. Once I understand how the Rube Goldberg-esque trap works, I tune out; I could care less about seeing a guy spend 60 seconds injuring himself trying to get free.

Plus, Hackl has no real visual style, or if he does, he neglects to really show it here. Bousman and James Wan gave the series a consistent look while adding their own unique flair to each film (such as color schemes, note how Bousman goes from brown-yellow in II to the green/blues of III and finally the reddish look of IV). But this film is pretty bland looking; there are some occasional shots that impress (such as Strahm in his trap), and he keeps the film moving for the most part, but it's the first film in the series where I never once caught myself admiring (or even disliking) a directorial choice, because it was pretty much by-the-numbers from start to finish (I also missed the crazy transitions from IV). I originally found it odd that someone else was already chosen to direct VI before this one was even finished, but now I can kind of see why. I also couldn't help but wonder if some of the story lapses were a result of the removal of dull footage, since Patrick and Marcus have been 3-3 IMO (Saw IV and the two Feast films). I am curious if this one has a lot of excised footage that will magically resurface in time to help promote the release of the next film. Someone send me the script!!!

It's not a total loss, however. Like I said, the first 30 minutes or so are great, as we learn more about Hoffman's relationship with Jigsaw, get some nice shoutouts and traditional "let's see that scene from part __ in a new light" stuff, etc. Plus, I think this is the first sequel to mention Danny Glover's character, which was much appreciated. Also, I dug how the "B" plot was essentially a Saw version of The Weakest Link; each trap required one person to die, so it was fun to see everyone planning ahead. Do you get rid of your biggest competitor early on, or lose the dead weight? I almost wish there were 8 folks like in II, instead of just 5, so that there could be even more of this strategic survival stuff. And after the nearly incomprehensible last film, I appreciated the more traditional storytelling this time around; there isn't much that will confuse you as long as you are paying attention (hell, the end of the film barely qualifies as a twist, IMO).

I suppose that we should be lucky that it took this long for such a rushed series to lose steam. But that's precisely what made the series so great; they managed to churn out a film a year that lived up to its predecessor(s) three times now. It's sort of expected that even with the compressed time, the team would deliver. And who knows, maybe the plots that this film set up will make for a great part VI (which will in turn give this one a new lease on life). Still, nothing can change the fact that this one lacks the visual style and enjoyable feeling that the filmmakers are always two steps ahead of you. Here's hoping that VI finishes the series off in style, or at least gets it back on track if they decide to make a VII.

What say you?

*An odd factoid I want to point out; the movie trailers before the film were for MARCUS Nispel's Friday the 13th, PATRICK Lussier's My Bloody Valentine remake, and PATRICK Tatopoulos' Underworld 3. I dunno, I thought that was strange. And MBV actually looks pretty good, which is even stranger.

PLEASE, GO ON...

The Etruscan Kills Again (1972)

OCTOBER 23, 2008

GENRE: GIALLO, ITALIAN
SOURCE: THEATRICAL (REVIVAL SCREENING)

Ordinarily I like to have zombies in my zombie movies, but I am glad that The Etruscan Kills Again (if the Blues Traveler song “The Mountains Win Again” was a hit, I’d totally record a parody, btw) was inexplicably included in the Silent Movie Theatre’s zombie movie fest (which yours truly is a co-host of! I hope some of you have been coming!). See, I had never heard of the movie, and even though I kept hoping zombies would show up, I was continually delighted by the nonsense displayed on the screen.

At one point I thought maybe the reels were out of order or something, because few movies have ever leapt so violently from one scene to another. Characters will suddenly teleport into a different location even though they appear to be having the same conversation, undetermined lengths of time pass by in between scenes, things happen for no real reason... it’s like a classier version of Pieces.

It’s also a movie that has a protagonist who looks like Michael Bay with a moustache, so I was on board right from the start. But he turns out to be a guy, like Jim Carrey in Number 23, who simply forgets he was in an institution for attempted murder. That’s awesome. He’s also an archaeologist, and he’s prone to holding long rods in a particular manner that had the audience rolling (except for one dude who apparently forgot that it’s OK to laugh when you go to an old Italian horror movie with ludicrous plot development – I got “ssh”ed for laughing when a guy on a bike drove through the shot for no reason and said “Hi!” to our hero, never to be seen again).

One thing about this movie that may make it interminable if you were watching it alone is that almost nothing happens in it after the first 20 min. There’s a pair of great, gory murders, but then the only other deaths are offscreen, until the ending. And it’s a long movie (around 1:45), which means there’s a lot of talk and people puttering about. With a crowd laughing at things and such, it doesn’t bother me as much, but I am guessing had this been a Monday morning Netflix thing, I’d be giving it a different review entirely.

Sadly, the DVD is out of print. Though I'm not really surprised, it seems to be relatively obscure (I couldn't find a trailer to embed, and the Wikipedia page, under the alternate title of The Dead Are Alive, seems to have been written by a babel fish) and director Armando Crispino has seemingly retired. Still, if you happen to come across it, and are in the mood for a really goofy giallo, it’s definitely worth a watch.

What say you?

PLEASE, GO ON...

October Extras 2: Memoirs Of An Invisible Man (1992)

OCTOBER 23, 2008

GENRE: CARPENTER, OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2007 (HD CABLE)

I have the unique privilege of saying that my two favorite actors have worked with my two favorite directors. Bruce Willis starred in Michael Bay’s Armageddon, and Chevy Chase toplined John Carpenter’s Memoirs Of An Invisible Man. Sadly, Bruce apparently hates Bay and John all but took his name off the film (it’s one of the only films that doesn’t have his name above the title. It doesn’t even say “A John Carpenter film”), but I’ll take what I can get.

But while Armageddon displays all that makes me love the folks in the first place (Bruce being Awesome, Bay blowing up everything in sight... can'you guys wait for my long-awaited review next week or what?!?!), Memoirs doesn’t really satisfy me as a Chevy OR Carpenter fan, due to both men using the film to try to do something different. Chevy fares a bit better than Carpenter; it’s one of the few films in which he actually acts, and while the role is far from humorous, he manages some genuine sympathy and remains interesting even when he’s not telling jokes, something you can’t often say about his performances. I think Funny Farm and Foul Play may be the only other films in which he was funny but still playing a genuine character. Also, and I couldn’t have known it at the time, it was the last time he starred in a decent movie, so it has some nostalgic value to me.

But Carpenter... there’s almost no sign of his style or personality here. Some of the film’s opening scenes, when Chevy is making his video, feels like vintage Carpenter, but the rest is rather pedestrian. The effects are still astonishing at times (the film was one of the first to really demonstrate what CGI could do), but that’s probably more the work of the ILM guys than Carpenter. Certainly he knows how to stage a setpiece or keep an audience in suspense, but there is little of that talent on display here. He was the third (at least) director to come on board, and I wonder if he even bothered restaging the scenes or simply used the storyboards and such that the other guys had prepared. Apparently Chevy (who also produced) was a bit of a tyrant on the set, which I’m sure didn’t help. The only real sign that he was even involved in the film is the fact that the building where Chevy turns invisible is located in “Santa Mira”, also the home of Silver Shamrock.

Still, it’s an enjoyable comic thriller. The San Francisco backdrop is, as always, gorgeous, and some of the more inspired bits (like when Chevy knocks out a drunk and uses him to hail a cab) are a lot of fun. And Sam Neill is a great villain; pitting him against both Chevy and Stephen Tobolowsky (as a bureaucratic section chief) is a stroke of genius. It’s interesting that such a classy theater type guy appeared in back to back big budget FX movies (he was also in that one with the dinosaurs, if you have forgotten), and also a shame that he never really took off as a leading man in Hollywood (I think the last big movie he was in was that Wimbledon thing).

The DVD was one of the last Carpenter films to hit the format, and while there is obviously no commentary, there are some nice extras, including some deleted scenes (listed as outtakes) and a brief look at the FX. I wish the HBO special that aired when the movie was released was on there, but alas. Also, there is an Easter Egg where you can watch Chevy and John (mostly Chevy) block out a shot. Watching it, I realized that it was the only time in history I’ve seen him actually being actorly (the HBO special was a lot of goofing off), since none of his movies have big special editions or anything like that (or when they do, such as Fletch, he doesn’t bother appearing).

Even though it underwhelmed, I wish the movie had been a hit (it was actually a pretty big bomb; even Cops and Robbersons opened bigger I think). I can’t help but think that the careers of both guys may have turned out different. Carpenter really only delivered one more time after that (Mouth of Madness) before phoning everything in, and Chevy followed it with his talk show (good Lord) and then a long string of family movies, a phase he’s not quite yet done with. Oh well.

What say you?


PLEASE, GO ON...

Dead Space: Downfall (2008)

OCTOBER 22, 2008

GENRE: ALIEN, ANIMATED
SOURCE: DVD (OWN COLLECTION)

You’re on a platform, there’s a little brown mole thing coming at you, and some bricks above your head look like they can be reached with the top of your noggin provided you utilize a running jump. That’s pretty much all the backstory you got with Super Mario Bros. But nowadays, that simply won’t do. Now you need tie-in products to flesh out the backstory! Hence, Dead Space: Downfall, which is a prequel to the game of the same name (and a sequel to the comic book series, which fleshed out the backstory to the backstory).

And now that I’ve played thru some of the game, all I can say is “Thank Christ” that EA has licensed out their game to other mediums, because the game is a bit short on story so far. Like a lot of modern games, I often have no clue as to why I am doing the things I’m doing (Halo being the worst offender of this), but at least I know why the ship that the game has me fighting monsters on came to be the way it is, thanks to Downfall.

Even as a standalone movie, it’s actually pretty good, all things considered. No one’s going to pretend that it exists for any reason other than to promote the game, but everyone clearly put some time and effort into it, and after a slow start, it’s actually a pretty exciting addition to the “spaceship is under siege by monsters” genre. Also, the animation, and the inclusion of a religious angle (shades of Scientology) makes it stick out even more. I particularly like the 2nd half of the film, which contains a bunch of badass spaceship types taking on some pretty original monsters. There’s a bit in which a girl takes a laser cutter and chops off the front of a monster’s head that ranks as one of the best alltime kills in this type of movie,

I only wish I knew a bit more about the “crew” that the girl was a part of, since most of them are literally introduced in the middle of an action scene, and not given much further characterization either. The first half of the movie is rather dull at times, and focuses a lot on characters who aren’t important in the long run, so I wish they had restructured it a bit more like Aliens (an obvious influence) and given us a chance to get to know these guys before they spring into action. I guess since anyone who knows their alien movies also knows that they’re not long for this world, and thus it isn’t “necessary”, but still.

There is a moment that made me laugh out loud too. If you’re a fan of Eric Fensler’s GI Joe cartoon parodies, you will definitely appreciate a scene late in the film when a bunch of monsters appear and seemingly surround our heroes. One of them yells “Fuck! We’re all dead!”; an oft-quoted line from one of the episodes (my personal favorite one in fact). Whether it was intentional or not, I don’t know, but it’s awesome.

Speaking of cartoons, as this IS an animated film, part of the enjoyment stems from how much you enjoy the artwork. I am not a big fan of the anime-influenced design, but it didn’t bother me much. What DOES annoy me is when they blend the rather crude 2D stuff with incredibly gorgeous 3D models and backgrounds. Especially on Blu-ray, the various spaceships and landscapes look phenomenal, and you can really see how much detail and care was put into their design. So when it gets obscured by a flat, not very exciting drawing of a guy in a spacesuit, it’s kind of disheartening, especially when cut corners are apparent (such as when someone is talking and nothing on their body is moving except their lips).

More importantly, the movie does a good job of laying down some of the “rules” of the game. The game has no traditional HUD (heads up display, i.e. your health bar, ammo meter, minimap, etc.); instead everything is worked into your character’s suit. Most prominent is a turquoise bar that runs vertically on your guy’s back, which is your health meter. When the bar gets low, you’re almost dead. This is explained in the movie (though rather oddly, a guy is killed and then his bar vanishes all at once; it should appear half “full” on an injured character for the idea to really come across). You also learn a bit about the dismemberment idea that the game introduces (enemies need to be dismembered in specific ways to be killed, as opposed to the usual sort of “shoot it in the head to kill it instantly or shoot it anywhere 5 times” concept), and there are other little minor things that both pay off stuff from the comic book and set up things in the game (the game begins literally the second that the movie ends). And it’s worth noting that these things feel organic to the film, not shoehorned in for the purpose of aiding would-be game players.

The DVD is rather slim with extras. A “deleted scene” is actually just some animated storyboards, and there’s also a photo gallery. No making of or commentary type stuff is included, which is a shame as it would be an interesting thing to discuss, having to make what is essentially the middle part of a trilogy and yet make sure it works for those who don’t care about the comic or game. There are also a couple of cheat codes included for those gamers who aren’t aware of the existence of Gamefaqs.

In the end, it fares far better than other animated tie in properties (such as the abysmal Riddick cartoon, which I think is by the same animation studio), likely due to having a script by seasoned comic vets Jimmy Palmiotti and Justin Gray (though oddly, they did not work on the comic). A slow start is redeemed by a pretty great 2nd half, and while the extras are pretty worthless, the 3D images look amazing on Blu-Ray (I assume the 2D stuff doesn’t benefit from a high def presentation), making it definitely worth a rental, or a purchase if you love the game and want to really explore the world of Dead Space. I wish there was some sort of deluxe package with everything (movie, game, comic) included, but the Blu-Ray is pretty cheap on its own.

What say you?


PLEASE, GO ON...

October Extras 2: Stealing Home (1988)

OCTOBER 22, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2007 (HD CABLE)

When I was little, Stealing Home made me think my high school life would be pretty awesome. Our hero nails two hot girls (one like 5 years older than him), spends all summer at the beach with one of the girls (with his mom’s permission!), kicks ass at baseball, and gets to chill with Jonathan Silverman. “All this is in store for me?” said 9 or 10 year old BC, “Awesome!” Sadly, besides frequenting the beach, there’s only been one other “Billy Wyatt” esque event in my life, and it’s the last one I would have wanted to occur. Stupid Stealing Home, giving me false hope.

That said, it’s still a cherished and enjoyable movie. For starters, I love how it’s set up; the movie is about Mark Harmon’s character daydreaming about the time he was reminiscing about his childhood. LEVELS. Also, for a movie in which our hero loses his dad way too early in life AND his true love commits suicide, it’s actually a lot of fun. His best friend (Silverman, and in the present day, Harold Ramis) is one of the best characters in a movie ever, IMO. He also has a summer that’s a lot more exciting than any I ever had, nailing the hot old broad that lives next door, and also gets to drink with Billy’s mom. I never had a friend with a hot mom, but if I did, and she wanted to give me a martini, I’d probably have a good time. Apparently, this movie is based on the actual childhoods of writer/directors Steven Kampmann and William Porter, and if that’s true.... man, I hate those guys. If I ever turned my childhood memories into a movie, it would be pretty dull. “And then, for the 2nd act climax, I watch Stealing Home again.”

I also love, love, LOVE the music in this movie. There’s a lot of great 50s/60s songs like “Poison Ivy” and “All I Have To Do Is Dream”, but there’s also one of the finest scores ever recorded, composed by David Foster. Back in 2000 I found the soundtrack CD at a Virgin record store in NY, and I must have listened to the main theme a dozen times on the drive back to Boston. There is also a wonderfully cheeso/awesome ballad called “And When She Danced”, which plays over the scene where Billy finally gets to fuck (and FUCK, they appear to go at it for like 8 hrs straight) his dream girl, played by Jodie Foster back when she was still hot. And for no real reason, I’d like to point out that this song used to bug me as a kid (and still kind of does), because it’s obviously a modern song that’s being played over a scene set in the 60s. The big finale of Dirty Dancing used to bug me too, for the same reason. Not quite sure how I was able to process this information at a young age (how did I know it was a new song? Was I checking the copyright dates?), but I think it’s amusing.

This movie is also pretty harsh for a PG-13. There are a couple of f-bombs, some brief nudity, and a pretty scary encounter between Billy and a guy his mom brings home. This guy is a total ass by the way; Billy’s like “hey man, go home!” and the dude barely hesitates in punching him, a 16 year old kid, right in the face. Plus, again, the movie’s themes are a bit depressing; the scene where they watch some home movies and Billy’s mom sees footage of her husband, shot only a day or two before he died, is among one of the more heartbreaking things I’ve seen in a movie. And the entire movie revolves around a guy trying to figure out how to spread someone’s ashes. Fun for the whole family!

There’s also some goofy stuff in the movie that tickles me. Like when Billy goes to his friend’s house and sneaks into the master bedroom, which lets us see that the guy’s parents sleep in separate (side by side) beds. Also, at the very end of the film, Billy and his friends walk home after a ball game, but they head to the outfield? Where the hell are they going?

I also never really realized it before, but Billy is kind of an asshole. He fucks two girls in the movie and never bothers with either of them again. The only reason he looks for the girl he lost his virginity to is because the other one (Foster, who he “never saw again” after their incredibly hot night of sex, despite the fact that she didn’t kill herself for another 15 years or so) wanted him to get back the pendant he gave her, a task he also takes like 15 years to get around to doing. And when he does, he reveals that he hasn’t seen HER since the night they fucked. Dude, harsh.

Also, and this goes out to all the folks who have seen the movie: “You! Had! Sex! With my prom date!”

When I first moved to LA, I worked one time as an extra on Navy NCIs. We were told not to bother the talent, so I was crushed to not have the opportunity to tell Mark Harmon (who I got to share the screen with! I guess that makes up for never fucking my friend’s prom date) how much I loved the film. And then last year, Beth Broderick (the hot neighbor broad) was at Screamfest (she was in Timber Falls), and I didn’t even realize it was her until I went home. Rest assured, if I ever come across Jonathan Silverman or Blair Brown, I won’t let them out of my sight until I discuss this movie with them.

(I assume Jodie Foster is a bit weary of fans obsessed with her early work, so if I ever see her I’ll probably just nod a hello.)

This was on HDNet last year, which suggests that a new DVD may finally be in the works (as the one released is a full frame, rather bland transfer, as almost all early Warner Bros “library title” DVDs were). If they need an audio commentary by a noted expert on the film, they know where to find one.

What say you?

PLEASE, GO ON...

Bryan Loves You (2008)

OCTOBER 21, 2008

GENRE: CULT, INDEPENDENT, MOCKUMENTARY
SOURCE: DVD (OWN COLLECTION)

Five dollars to the first person who can tell me who Bryan Loves You writer/director/star Seth Landau sounds like. He sounds EXACTLY LIKE someone famous but I can’t place it, and it drove me insane throughout the movie and the commentary. I’m circling around Eli Roth and Chris Parnell combined into one voice, or maybe Eric Bogosian. I don’t think those are correct though.

That five bucks will come from my trading in the DVD at Second Spin, because I cannot imagine a point in time when I would want to sit through this inept mess again. I’ve certainly seen worse movies, but I get more angry when a great concept (“found footage” about a guy investigating a creepy Arizona cult) is botched by such lazy and simply incorrect filmmaking.

First of all, it’s found footage, but most of it is actually surveillance footage from fixed angles in the corners of the room (or, when necessary, fixed angles that are conveniently fixed on objects of interest). It seems that every room in this movie has like 5 or 6 “hidden” cameras in it. This is annoying enough (why would someone take the time to edit together all of this footage? If they were filming everything 24/7 from multiple angles, there would be like 5 or 6 minutes of footage to use for every 1 minute of time), but the cult says near the beginning that filming is not allowed! So why do they film everything and cover so many angles in the process?!?!? If scenes went by from one fixed angle, I could almost buy it (it would make it a bit more unnerving at any rate), but the way its presented is completely counterproductive to the feel Landau was going for. People bitch about Diary of the Dead... at least the camera’s inclusion made contextual sense in that.

Worse than the camera trouble is the sound. There’s a gimmick that they don’t want to say the name of the town, anyone’s last name, their street, etc... and that’s fine. But instead of beeping the audio, like any normal person would, they just cut the audio out entirely. So during proper noun heavy dialogue exchanges, it sounds like your receiver is broken. Throughout the movie I thought there was something wrong with my DVD, because it’s such an intrusive and dumb way to present the “protect the identities” idea.

And once again, we have a horror movie with big names on the cover for people who aren’t in more than a scene each. Tiffany Shepis (yay!) is the only one who seems like her part was part of the actual film, and not some random nonsense filmed later to have the names attached. Top billed is George Wendt (2nd Wendt film this week!), and his scene is actually pretty cool, but again, feels completely disconnected from the rest of the film. If you were to remove it, there would be absolutely no change in the narrative at all. We also get Tony Todd bookending the film as a guy who warns you that the footage may make you sick or too scared, and Daniel Roebuck pops up as an expert on “Bryan”, a scene which is rather useless in the long run since Landau never bothers to really explore/explain the cult. A great extra feature would have been an essay or short video about the real cult, but all they offer is a commentary.

Listen to the man.

The commentary is slightly more entertaining than the film, since there’s like 50 people in the room and thus there’s always something to listen to. Landau acts a bit like Howard Stern, and is pretty lively (a stark contrast from his performance in the film, which is dull and lacks even the slightest bit of charisma), so that’s good. Plus he reveals himself to be a big fan of Fletch, so he endured himself to me. Towards the end, he tries (unsuccessfully) to further the idea that the cult is real and they are after him, and it’s a failed experiment, but I love the fact that they went there at all. On that note though – his “no, this is real!” approach to trying to promote this movie makes the lack of any other extras even more puzzling. Believers was a failed movie about a cult too, but at least the extras delivered the "this is real" chills.

On top of it all, I'm really just bummed that a movie with my namesake, albeit spelled wrong, lacks the chills. The cover art is cool (based on the creepy masks that pop up on occasion in the film), and I was actually in the mood for a found footage film, so I really thought I would dig this one, even if it didn't share the plot I had in mind when I read the title (which was a giant ripoff of Valentine, only it was a dude named Brian, or, dammit, Bryan). Attention all screenwriters - if you make a slasher movie and name the killer Brian, I can almost guarantee a positive review.

Speaking of: on the IMDb, all of the "external reviews" are positive (some are even repeated), but all the major horror sites like Fango, DreadCentral, and now (in a tangential way) Bloody Disgusting panned it. Also, I got a snarky comment about my "full review soon!" post within a couple hours of its posting, which suggests that maybe there IS a cult after all, only it's a cult that is trying to get this movie some positive attention. I don't doubt that the movie has its fans, and I'm glad some people dig it, but that kind of behavior (which I also dealt with on Poughkeepsie Tapes, but at least I liked that one) annoys me. To "coca-cola" and whoever else enjoyed this movie, feel free to post your thoughts in the comment section - that's the intent of the site after all.

What say you?


PLEASE, GO ON...

October Extras 2: Metallica: Some Kind Of Monster (2004)

OCTOBER 21, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2006 (DVD)

Like a lot of folks, I wasn’t the biggest fan of Metallica’s "St. Anger" album. I liked it better than Load/Re-Load, but after 2-3 listens it was placed on the shelf and more or less forgotten until June of 2004, when the film Metallica: Some Kind Of Monster was shown at the Boston Film Festival. I was interested in seeing the film, not because I am a die hard fan of the band (to this day I haven’t heard any of their albums pre “And Justice For All”), but because it was directed by Joe Berlinger and Bruce Sinofsky, my personal favorite documentarians thanks to their Paradise Lost films, as well as Brother’s Keeper. Hell, I’m even among the few who will defend Berlinger’s Blair Witch sequel (a club Berlinger himself does not even belong). Not having a ticket, I had to wait in the standby line for about 2 hours just to HOPE to get in, and if memory serves I was one of if not THE last person they managed to find a seat for, and turned a bunch of folks away.

And even though I was in the front row of a very uncomfortable theater (a relic in the middle of Somerville, the next 2.5 hours was bliss. I was engaged by every second of the film, in a manner I’ve rarely experienced since. There’s a part in the film where James Hetfield returns from rehab, and I was like “aw, now they’ll record the album without a hitch and the movie will be over”, but a quick check of my watch revealed that it wasn’t even the halfway point. At nearly 150 minutes, the movie never once drags or even feels long, and when the REAL ending was obviously approaching, I felt bummed. I could literally watch the film all day long.

There’s just something completely enrapturing about watching these guys struggle to record an album. Kirk Hammett and Bob Rock become spectators after awhile as we see Hetfield and Lars Ulrich constantly get on each other’s nerves; displaying some of the finest passive aggressive behavior I have ever seen (real or scripted). If anything, James’ stint in rehab makes the situation worse; they really only fight once before the fact (that we see anyway), but afterwards it’s as if they can’t even record a riff without going at it.

But I think what makes it so compelling is that it’s not a bunch of yelling and throwing and punching. They fight, for lack of a better word, intelligently for the most part. A lot of that, I’m sure, is due to the fact that they have a therapist with them almost every day. He’s this guy named Phil (who oddly looks a lot like Chevy Chase does now, with his balding, liver spotted head and giant glasses), and he becomes so entwined with the band that at one point he even offers lyric suggestions. Some (particularly hardcore metalheads) might balk at these “gods” being such pussies by discussing their feelings, but I find it fascinating.

Maybe it’s BECAUSE I don’t worship these guys that I don’t have any problem with seeing their vulnerable side. Meat Loaf attempted his own version recently, with a film called In Search Of Paradise, and it was just kind of annoying to me, because I knew more than the film was actually offering. On the flipside, I also watched I Am Trying To Break Your Heart, about Wilco’s struggle to record an album of their own, and since I’m almost completely unfamiliar with their work, I wasn’t engaged by much of what was on screen. With Metallica, I think I had just enough appreciation to enjoy the occasional joke (Kirk’s response to James feeling like he has no say in how songs are recorded is priceless), but not so much that I was becoming in any way disillusioned to discover that millionaire rock stars are people too.

But besides all that, it’s just a fascinating documentary. The guys were hired to film material for a 20 minute promotional video (the guys had a working relationship with the band due to Paradise Lost; the only film in history that Metallica allowed their songs to be used on the soundtrack), but the inner turmoil and turn of events resulted in them being on the project for about two years. At one point, they even discuss the future of the documentary, IN the documentary (this scene once included a bit where the band watches what has been cut together so far, but that was excised for being a bit too meta – it’s on the DVD though).

Also, unlike their other films, it actually has a Hollywood-esque structure, complete with triumphant ending. If one considers James the main character, he falls, then struggles to rebuild, and finally regains his position as the leader of the “biggest heavy band of all time” (ex-member Jason Newsted’s words, which are mocked by Lars on the commentary) by playing a show in front of a sold out crowd (apart from the occasional archive footage, the band is never seen playing for a paying audience until the film’s conclusion). And it’s all in those little moments with Lars that sell his transformation. There’s a scene where James wants to let the therapist go, and when the guy begins to protest, Lars, who has spent the entire film ignoring or rebelling against James’ wishes, almost instantly joins his side in telling the therapist to sod off. It’s a fantastic moment. And even before then, hell, even before rehab, you see these little throwaway moments (the two of them air drumming a beat they are working on, Lars’ kid interacting with James) that show that at the end of the day, these guys are brothers. Even if you don’t even know which one is the singer and which is the drummer, you will want to see them repair their relationship by the end, just like any good movie.

One thing the movie doesn’t quite do so well is handle the Napster stuff. Fans know all about it, but non-fans probably don’t have a clue why it would be important to mention at all. In short, in the summer of 2000, the band (mostly Lars) filed a lawsuit against Napster after discovering, well, IT. They didn’t know anything about the program, and then one day they found out all of their music was available through it. Like I said earlier in this review, they are protective of their work to the extent of not even allowing it to be used in a movie. For the longest time (and maybe even still today, not sure) they wouldn’t license their albums to Columbia House or BMG either. And yet, people like to accuse them of simply being moneygrubbing assholes. Uh, no. You get paid (quite nicely) for these services, and that’s for music that they’ve already recorded, so it would be money for nothing. And a fact that often gets ignored (perhaps purposely), what initially set them off wasn’t that someone could downloaded "Load" for free, but that people were sharing (and judging) a song that they hadn’t even finished yet! The fact is, Napster was a way for people to obtain their music (in substandard quality to boot) through means that they didn’t agree to. It’s no different than a filmmaker not wanting a truncated version of his film to be shown on an airline or whatever. Anyway – the movie just still sort of makes them seem like assholes on the subject, and Lars never really gets to defend his actions. In the commentary they basically say “well we didn’t want to ignore it”, but at the same time, an amazing opportunity to set the record straight is basically wasted.

The only other aspect that I would have really liked to have seen explored is Bob Rock’s take on things. He was the album’s producer, but he was also filling in on bass until a replacement was found. He had to have been feeling like he was part of the band at some point (the album took over a year of recording sessions!), but at the same time he had a producing career to think about (it was during this time that he produced Tonic’s amazing album "Head On Straight"). But other than the occasional comment, he’s kind of a non-factor in the movie once James returns. However, other “band history” things, such as Cliff’s death, Jason’s departure, and Dave Mustaine are handled perfectly. The Mustaine scene in particular is amazing, as Dave reveals that despite all of Megadeth’s success, he still feels like a loser for being kicked out of Metallica, 20 years before.

I also want to point out two minor things that tickle me. First, when Lars has blond hair, he looks exactly like Tom Sizemore. And second, in their break room there is a Deliverance poster, except the E is missing ("Delivrance"). It’s really odd – no one noticed that on the Warner marketing team? I bet Burt Reynolds kicked someone’s ass over that.

The DVD was so packed that I took the day out of work to watch it all when it came out back in 2005. Two commentaries (one by the band, other by Berlinger/Sinofsky) that are both worth listening to, a whole bunch of little bits about the film playing at festivals, additional “post film” interviews, a video, and the trailer would have been enough. But also, there are FORTY deleted scenes, which run close to two hours combined (many with commentary by Joe and Bruce), and I’d say about 75% of them are just as interesting as anything in the finished film. And if you love the movie as much as I do, you’ll want to buy Berlinger’s book about its production, which fleshes out a lot of stuff, contains his thoughts on the Blair Witch debacle, and more. I devoured the book in two sittings; I really wish that the DVD company had partnered with the publishing company to make a sort of deluxe set with the film, book, and of course, the "St. Anger" CD.

And back to the CD – the best thing about this film (and book, to a smaller extent) is that it can actually give you a new impression of the CD. I now have listened to it more than any other Metallica album, and while I still don’t love every song (like all of their albums, it’s about 20 min or 3 songs too long), it’s just incredible to listen to these finished songs after hearing (and seeing) how they were developed (oh yeah – the movie is not all fighting and therapy, there’s actually quite a bit of lyric writing and recording session footage). For example, the song “Sweet Amber” was born out of an incident in the film when the band was being forced to record some radio promos. They are told that if they don’t do it, the radio stations from that company (Clear Channel, I assume) wouldn’t play their singles when the album was released, to which James responds (in anger, to their manager) “So... what; wash their back so they don’t stab mine?”. So now when I hear the song, I think about that scene, which is a pretty great one in the context of the film anyway, and it just becomes a richer experience. At least for me.

Sorry that this review is like 395 pages long. I really like the movie is all.

What say you?

PLEASE, GO ON...

October Extras 2: The Usual Suspects (1995)

OCTOBER 20, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2001? (DVD)

In the mid 90s, there were a whole bunch of “cool” gangster movies. They all had twisty narratives, hip dialogue, etc. Most of them sucked. But one that stuck out then and now is The Usual Suspects, and I continue to consider it one of my top 5 films of all time, and nothing bums me out more that neither Bryan Singer or Christopher McQuarrie (or even a lot of the actors) have done anything since that even comes close to matching it in terms of quality, entertainment, or just plain awesomeness.

I also credit the film with making me realize that EW critic Owen Gleiberman was a fucking idiot. He said the film was one of the year’s worst films, and the only reason I can think someone would feel that way is that they just didn’t understand it. I mean, if you sit down to watch a crime film, why would you not be entertained by the bulk of this film, which features all the hallmarks of the genre: some top notch acting (Stephen Baldwin, for example, gave what may be his only good performance ever in this film), cool guys doing cool shit, dirty cops getting fucked over, and Chazz Palminteri. That’s like sitting down for a comedy and being pissed that it’s funny. But on top of all that, you get this amazing and crafty mystery that doesn’t require a 2nd viewing to understand, but REWARDS repeat viewing in a way that few other films have done since (I think Sixth Sense and Memento are the only ones that come close). Everything is spelled out nicely at the end, but if you choose to go back, you can marvel at all the little things that take on new meaning.

Take, for example, the scene where they are all being arrested. You don’t think much of it at the time, but on a 2nd view, you’ll probably notice that you never see Verbal being arrested. Or the look on his face when he’s waiting for Kujan in his office; is it boredom (1st view) or study (2nd view)? Plus, the dense plotting is rife with details that don’t even really matter, but again, flesh out the movie on a 2nd view. In this day, when video games always have books and comics and webisodes to “flesh out” the story that the game itself is lacking (see Halo), it’s interesting that to see how it can be done all in the actual "flagship" component of a particular entity, if you chose to pay attention. Game designers should look to this film for ideas.

I also love how the movie is engaging before Soze is even mentioned. I was already totally into the tale of five thieves banding together to get back at those who wronged them, but then Soze is added into the mix, and its like you’re getting two movies for the price of one! And there’s still some stuff that they could have done MORE with. One of my favorite characters is hardly in the film, the FBI guy played by Giancarlo Esposito, and you can almost make a version of the film that’s told entirely from his perspective.

Something I noticed for the first time today – a lot of my favorite movies are pretty much female-free. Usual Suspects has ONE female in the entire movie (Suzy Amis – what the hell ever happened to her?), and a lot of my other top 10s (The Thing, Pulp Fiction, Armageddon, Dawn of the Dead) have a severely unbalanced male/female ratio as well. I guess Halloween balances things out.

I also miss when Kevin Spacey was a welcome presence in a film. 1995 was a great year for him; Seven, Swimming with Sharks, and this continue to be among his best work, but ever since he won an Oscar for American Beauty he has become increasingly dull, appearing in lousy movies to boot.

The special edition DVD is very generous with extras, much more than I thought. There are two commentaries, one with McQuarrie and Singer, the other with editor/composer John Ottman. I only listened to the former, but I will definitely get to Ottman’s soon, as it’s incredibly rare to hear an editor speak. Also, Ottman went on to make Urban Legend 2, which is on the complete other end of the spectrum for amazing endings to a movie. The first track is a lot of fun, as they both point out... well, pretty much everything involved with the film. They almost never shut up and everything they say is pretty interesting. Then on the other side of the disc is a collection of featurettes that run a total of 75 minutes (you can play all, wooo!), some deleted scenes, the overlong trailer, and an Easter egg of a 20 min interview with Ottman. There is also a gag reel but it’s fucking annoying; skip it.

It’s a shame that Singer went from this to a rather bland version of Stephen King’s Apt Pupil before heading off to comic book land. I like his X-Men movies (the less said about Superman, the better), but I want him to make another smart movie like this. McQuarrie has been completely MIA for the past 13 years, except for his low-key, sort of OK thriller Way of the Gun. They have reteamed on the upcoming Valkyrie, but early word suggests that its hardly a return to greatness for either man. I also love their film Public Access (which came before Suspects), so I know they aren’t one trick ponies. Come on guys, come back!

What say you?

PLEASE, GO ON...

Martyrs (2008)

OCTOBER 20, 2008

GENRE: MAD SCIENTIST, SURVIVAL
SOURCE: DVD (BORROWED)

I was bummed that the scheduling of Screamfest would prevent me from seeing Martyrs with a big crowd, because everything I had heard about the movie concerned its public reaction. I knew nothing about the plot (I knew it was survival horror, that’s about it), but everyone who had seen it had a lot to say about how they FELT about it, or how the crowd was left stunned and silent. Since Horror Movie A Day began as a way of “discussing” horror movies with people, I thought it would be a good one to sit around and discuss with some of the folks who I had been sitting in the dark with for the entire week. But alas, I had to get to the New Bev. The Bev above all.

Luckily, a friend had a PAL import DVD, so I was able to at least watch the movie while opinions were still fresh in the mind of Screamfest attendees, so I hope a few chime in with how they felt.

Personally, I’m sort of on the fence. I loved the batshit opening, which seemed to combine French survival horror (they still do it better than anyone!) with Asian hyper-violence and even a goddamn monster straight out of Lovecraft. But, like anyone will tell you, it’s hardly a fun film to watch, and it’s ultimately sort of numbing, particularly the 3rd act, which is little more than a girl being smacked around while chained to a chair. And you may have noticed the peculiar genre tag (is this the first film to combine these subgenres?), a story element that is odd in that it feels out of nowhere but at the same time, gives the film an actual plot. Without it, it would be just as worthless a film as Broken. However, its execution is far from perfect, so again – I’m on the fence.

In a way, the film would make a good companion piece to Funny Games. In that film, we are sort of mocked for “wanting” to see this sort of violence, and yet we never really see any. In this one, once we get to the point where we want it to stop (and it seems that it will), it becomes, if anything, more intense. By the 70 minute mark, I contemplated shutting the film off; not because I hated it, but because I realized the window was open and the film had become an almost nonstop series of shrieking and the obvious sounds of a woman being abused.

And then there’s the conclusion, which is strangely poetic and horrifying all at once. The point of the film is made (sort of) clear – I won’t spoil it here since the film hasn’t really been released here yet – and then it just ends. Some hate the lack of a firm conclusion, but I didn’t mind it much. It’s like the ending of No Country For Old Men – the point of the film is in the title, and thus the traditional wrapping up of the “story” isn’t the priority.

Gore nuts will definitely love the film. Visceral shotgun blasts, a metal plate being ripped off of someone’s scalp, a woman skinned alive, throat slashing.... if there was ever a film that could appeal to both teenage wannabe Savinis and 40 year old horror “scholars”, it would definitely be this. Speaking of the gore - I would definitely recommend going in blind to this one – something that occurs early on is the biggest shock of the film, and I suspect it is something that would be given away in any plot synopsis.

So, I dunno. I can’t exactly say it’s on my top 10 list, but it’s certainly a film that demands a viewing from intelligent horror fans. Had the “old woman” character been weaved into the narrative in a better fashion, I’d probably give the film a higher rating. Also, while its violence is shocking, it’s not suspenseful in the manner that an equally “intense” film like Inside is, which makes a 2nd viewing something I would never want to consider. But if you’re a woman-hating gorehound who loves French dialogue and a sound mix that may result in your arrest, I wholeheartedly recommend Martyrs!

What say you?

PLEASE, GO ON...

October Extras 2: E.T. (1982)

OCTOBER 19, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2002 (VHS)

I missed the 20th anniversary release of E.T. The Extra Terrestrial back in 2002, because A. I had just watched it, 2. I was broke (I also missed Jason X and Blade II around the same time) and D. I like rifles more than I like walkie-talkies. I missed it again when it screened at the Arclight earlier this year. And even though I’ve had the deluxe DVD set for years (I got it pretty cheap too, and didn’t realize how much stuff was in it until today) I’ve never cracked it open until now. For some reason, even though I love the movie, I just never get around to watching it. Even as a kid, I don’t think I ever saw it more than two or three times. I’ve probably spent more time playing the Atari game (which I have actually beaten) than watching the film. Weird.

Anyway, it’s a great movie. You know that. Everyone knows that. The entire supplementary section of the DVD set is devoted to everyone pointing out how beloved the movie is. I think a great extra would be a commentary by someone who hated the movie, if only to hear their reasoning.

There’s a reason that it’s inspired so many modern filmmakers, even ones who don’t make “family” movies. It’s just a perfectly executed film. Spielberg is the master of the earned reveal; in all his legendary “monster/alien” movies, he has never shown the entire creature right from the start, and ET is no exception. I would love to watch the film with someone who had no idea what it was about, because it’s almost played as a horror film in the first half hour, which doesn’t quite work on me because I’m pretty sure E.T. does not murder anyone in the film. But someone going in totally blind? They'd totally think Elliott was a goner.

I also love how un-cynical it is. There really isn’t a mean character in the entire film. Peter Coyote would be the sneering villain in anyone else’s hands, but he’s a sympathetic man who longs for answers to his childhood questions. Speaking of Coyote, every time he spoke in the film I had flashbacks to that one Oscar night when he was like, a play by play commentator? He was with some broad, I forget who, but it was fucking weird.

And I must mention Mike, the older brother. Elliott and Gertie may be the ones people remember, but I think Mike is a great underrated character. He could be the typical older brother, i.e. a jerk, but he eventually is just as dedicated to ET as Elliott; his “Nooooooooooo” when he sees the dead plant is one of the more heartbreaking moments in the film. And lest you forget: he’s the one who runs off into the woods to find the little guy.

And it may seem a bit cheesy in the age of meta-humor, but the scene where ET sees Yoda and begins to follow him as if he was an old friend is fucking hilarious. This sort of “wink” was pretty much unheard of back in 1982, and again, I wish I could sort of experience it for the first time all over again, not knowing that it was coming.

While we’re on the subject of Star Wars – in the part where Elliott shows ET his SW toys and how to feed fish and what not; I never noticed how bored ET looks in the scene. “Yeah, great kid, you have toys and a plastic shark on a stick... can you get me the hell back home?”

I also love how giant Elliott’s closet is. Seriously, it seems like it’s bigger than the room itself. If I had a goddamn alien in my bedroom closet when I was like 7 or 8, I’m pretty sure my parents would notice right away. I’m curious what kind of salary Mrs. Elliott’s mom pulls in, since they have a pretty big house (though it’s kind of flimsy, shit falls down all the time even when ET isn’t anywhere near the object(s) in question). Their kitchen table is also pretty awesome. I want to eat around a triangle.

Like I said, the DVD is mostly comprised of everyone saying how much they love the movie “even today”, but there’s some other good stuff too. The documentaries are by Laurent Bouzereau, which translates to “They don’t suck”. Apparently there was a 2 hr one on the original laserdisc that has not been carried over, but I’m sure we are getting all of the same information in the new ones. There’s also a nice piece about the movie being shown with John Williams conducting the score live, usual trailers and such, and a couple of PSAs from the 80s, like ET inspiring a kid to compete in the Special Olympics (the kid doesn’t seem to be disabled in any way though?). Since its Spielberg, there’s no commentary track (though I’ve never understood why his actors or screenwriters or whatever can’t do one? Does he forbid it?), but otherwise it’s a pretty jampacked set (it also includes the CD soundtrack, a book with making of stuff and the script, a film cel, and a certificate of authenticity, which is a bit odd because like, how could all this stuff be a fake? Seems like it would be a lot of work for a bootlegger to put together this giant package). It was limited, so I don’t know if you can get it cheap anymore, but if so, it’s definitely the way to go, especially since it has the original version (I didn’t even bother with the “restored” nonsense).

It’s a shame that people today are too cynical and douchey to appreciate such a wonderful and charming film, and I fear that the next generation of kids (that is, the children of the kids who should have gone to see it in 2002 instead of fucking Ice Age) won’t even bother seeing it at all. Hopefully they can latch onto another “kids of all ages” movie that is as compelling and well-constructed, should such a film ever come to pass (Wall-E being the closest contender in recent memory, or if you want to go back to the “ancient” 1990s, Toy Story 2).

What say you?

PLEASE, GO ON...

Screamfest Shorts

OCTOBER 19, 2008

GENRE: SHORT
SOURCE: THEATRICAL (SCREAMFEST)

A lot of the features have had shorts before them (a welcome change from Screamfest’s past), and while some have been pretty lousy, I wanted to point out a few that I thought were pretty great.

The best was The Tale Of Haunted Mike, by Drew Daywalt & David Schneider. It’s hilarious, well shot, and it stars a couple of overweight 30+ guys. Mike’s a scam artist who sells “haunted” stuff on ebay, the other guy is one of presumably many folks who sells assorted junk to Mike for much less than he will make on Ebay. The story has a nice twist, and there is random usage of the Saw music, so all in all it’s definitely a winner.

Two others involve Danielle Harris. One is Burying The Ex, which she just stars in (along with Freaks and Geeks' John Francis Daley), and it’s a funny/sad account of a guy who needs to move on with regards to his ex girlfriend. The metaphor is a bit on the nose, but it’s funny, well shot, and unlike some of the other shorts, fully professional on both sides of the camera.

The other Harris-fied short is Madison, which was actually directed by her (she also pops up in a brief role). It’s about the title character (Dana Daurey, whom I never heard of and was completely smitten with by the end of the short) dealing with her rising paranoia of why her boyfriend hasn’t returned home after heading out with a female friend. Halloween fans should definitely dig it; along with Harris, 4’s Kathleen Kinmont and 6’s JC Brandy (who was playing Harris’ role in that film) also show up. And its produced/written by Anthony Masi, who was behind the excellent documentary on the series called 25 Years of Terror.

Another great one was Rory Kindersley and Jason Noto's Butcher's Hill. It's a pretty simple, gory version of Hansel and Gretel, with one of the best gore gags I've ever seen and a wonderful look to it. And unlike some of these others, it was actually, well, SHORT, clocking in around 5 minutes (if it was longer, it certainly didn't feel that way).

Strangely, some dude asked about when the Harris films would be on DVD – wasn’t aware that short films were often found at Best Buy. But I’m sure they will all be playing festivals and/or shown online in some form – keep an eye out for all of them.

What say you?

PLEASE, GO ON...

The Power (1984)

OCTOBER 19, 2008

GENRE: SUPERNATURAL
SOURCE: THEATRICAL (REVIVAL SCREENING)

There were only two films in the New Beverly All Night Horror Festival that I was completely unfamiliar with. One was Teenage Mother, which isn’t even horror (it’s like Reefer Madness for teenage pregnancy), and the other was The Power, which as best as I can tell, isn’t on DVD. Being directed by the guy behind Soul Survivors wasn’t much of a draw, and the brief plot description got me temporarily confused with the film The Dark Power, another unappealing factor. Still, I needed a film for today, and it was the only one of the festival (post 12 am) that would qualify, based on the announced lineup (I lucked out with House).

As I might have predicted given its non-pedigree, it’s pretty forgettable. There’s some nice bits here and there (such as when a professor uses his Aztec powers to get back at a wiseass student early on), and I like that our would-be hero turns out to be the inadvertent villain (he becomes possessed by the little Aztec doll and essentially turns into a jerk), but I mean, it’s been less than 24 hrs and I’ve already forgotten most of the movie. To be fair, it came near the end of a long marathon, so I was a bit delirious from trying to stay awake (and DID doze for about 20 min or so), but still – if there was anything about the movie worth noting, it would stick out regardless of the circumstances, no?

One thing about the movie is the lack of a body count. There are like 5 kids in “the group” and our guy never actually kills any of them. There’s an impalement early on (on a flagpole!), and a dude melts at the end, but otherwise, I’m not even sure what the R rating is for. This was post PG-13!

In a way I’m kind of glad I didn’t care much for the movie. It’s not on DVD, the VHS is obviously hard to find, and no one else really knows about it (the one link on IMDb’ external reviews is dead). I hate it when I like a movie and can’t get anyone to watch it because it’s so under the radar, so with this I don’t have to bother. What little I remember will be forgotten entirely in a week or so, and I probably won’t have to deal with “How could you not love this movie?!?!?!?” b.s. either. Adios, little movie!

It’s not horror, but I should talk about Teenage Mother a bit while I’m sort of on the subject. In addition to a surprising early performance by the great Fred Willard (as probably the least funny guy in the entire movie, oddly enough), this movie is significant for featuring an actual birth, presented in a single, unbroken, seemingly endless shot. It’s all there, blood pouring out, forceps being applied, and of course, the kid being sort of pulled out. There’s dialogue too, but none of it could be heard, since the entire theater was simply going “Ahhhhhhhhhhhhhhhhh” the entire time. It was a great "audience" moment in a night that was peculiarly low-key for the Bev (the less-than-classic lineup didn’t help I'm sure, but still - it was almost eerily quiet at times), and the rest of the movie was pretty entertaining as well. The 60s kids are hilarious, the father of the would-be mother is equally creepy and overreactionary, and there is no real ending to the film either. In short, it was the most “New Bev” friendly film of the night (save for Raw Force, which closed the festival to a mostly sleeping audience), and I hope they actually show it again on its own bill in the future.

I have enclosed a photo.

What say you?

PLEASE, GO ON...

House (1986)

OCTOBER 19, 2008

GENRE: COMEDIC, HAUNTED HOUSE
SOURCE: THEATRICAL (REVIVAL SCREENING)

Part of the deal for the all night horror-thon at the Bev was a secret movie. Some folks were convinced it was Trick ‘R Treat, others had their money on Halloween. I can’t help but think that they were massively disappointed when it was revealed to be House, the Steve Miner film from 1986 that is best known for its sequels' names: the awesome subtitle for the 2nd film, (The Second Story! Get it? It's a play on words!) and the fact that part 3 is completely unrelated (and not even named House III in the US, despite the fact that we still got House IV). Having never seen the entire film, however, I was happy to see that the secret film was one I could use for a HMAD entry.

Unfortunately it wasn’t all that good, and worse, it brought the crowd down a bit. Granted, as the night goes on you can expect folks to get more and more sleepy, but if one were to graph the level of energy throughout the night, you’d be able to see a pretty big drop occurring right around the point of House when you realize that Miner and co were simply making the movie up as they went along. I think it’s one of those movies that lives solely on its nostalgia, and just won’t be “appreciated” by someone watching it for the first time now, as an adult.

Part of the problem is that the movie is rated R, but it’s aimed at kids. There’s something kind of odd about having a movie with all these adult themes (losing a child, divorce, suicide) when the villain is a wisecracking zombie that seems teleported from a Scooby Doo cartoon. So the humor doesn’t really work on me as an adult (except for a few lines from George Wendt, who is the movie’s only real highlight), and I’m left with rather bland horror.

There’s a great sequence, partially set to “You’re No Good” (for some reason), where Katt dispatches a monster and tries to dispose it about halfway through the movie, but it’s pretty much the only memorable horror bit. The rest is just the usual generic haunted house stuff, plus a haunted fish that may have inspired those singing fish things that idiots buy you for Christmas.

Also, there are poorly implemented flashbacks to the disappearance of Katt’s son and his time in Vietnam that completely throw the movie off. Again, it really just feels like they are making things up as they go along; the movie keeps going on tangents and then haphazardly resuming the actual story. For example, late in the film, the would-be love interest drops her kid off, and Katt tries to prevent him from seeing monsters and then has to rescue him (nice job on the prevention! Greatest American Hero my ass!). Throughout this sequence, he never once seems to really consider the parallels with his own son. If anything, he barely seems concerned for the kid’s safe return; it’s as if he’s more worried that if the kid is killed he’ll never get to fuck the mom. And that would be totally fine, if he stuck to that principle. But no, the kid is rescued and the two of them are never mentioned again, then they suddenly dive right back into the son/Vietnam stuff as if nothing happened.

And for the love of Christ... attention all movie characters who are authors: When you need to write something – stay the fuck in your own home! Or go to a Starbucks or something. This pathological need to go to isolated houses or old family mansions will be the death of all of you! It never works out. Just once, I’d like to see a movie where a writer goes off to his old childhood summer home or whatever, writes a book without any interruption, then returns to his 2 bedroom apartment in Studio City and discovers his roommate is a warlock. The rest of the movie is about the warlock.

What say you?


PLEASE, GO ON...

House On Sorority Row (1983)

OCTOBER 18, 2008

GENRE: SLASHER
SOURCE: THEATRICAL (REVIVAL SCREENING)

I managed to see all but one movie at Screamfest (Spine Tingler, which I had already seen so it doesn’t count!) until today. I had planned on seeing Boogeyman 3, but the usual delays put a stop to that, because I had to get over to the New Bev for the all night horror festival before House On Sorority Row began, as I had never seen it (plus I was co-hosting the raffle, which was going to go on after the movie) and HMAD reader Gunslinger19 had recommended it a while back. Still though, I only missed three-but-really-two films (Martyrs was always out of the question) out of 20. Not too shabby.

I can only hope Boogeyman 3 was better than House though. It’s a decent enough slasher, but it’s pretty by the numbers until the finale, and by then I was kind of bored.

As you might expect from the title, there aren’t a lot of men in this movie, but one of them is quite obviously a guy they filmed months later to add another kill into the film (his scene comes out of nowhere and his body is never even found later), something that always bugs me in slasher films. It’s hard enough to care about the victims in these movies to begin with, but to toss a guy in for no reason but to “spice things up” during a dull stretch of the film is just inching it closer to “torture porn”.

There’s also a shocking lack of chase scenes. The kill scenes are pretty much all the same; a girl goes off by herself, hears a noise and is instantly killed. I don’t even remember any “Is someone there?” type moments, because the killer seemingly teleports into the scene rather than play with the victim or even make his presence known for the audience’s sake. It’s not until the final scene of the film that we finally get a good look at him, and that pissed me off even MORE because his costume is fucking awesome! It’s a clown/jester, and while our unfamiliarity with his look results in the movie’s only real (and great) scare, it’s not a very good payoff for keeping him MIA for the entire 80 minutes that preceded it.

Still, there’s some good to be found. Our heroine is super cute (she looks a bit like Kristen Stewart, soon to be in Twilight so you won’t be able to get away from her), and my early 90s crush Harley Jane Kozak plays one of the sisters. And it’s clear that writer Mark Rosman watched Black Christmas a few times, so at least he’s stealing from the best. Also, the Christmas feel results in the finale having some surprise, as there IS a motive and a backstory and all that. I wish it was worked into the film a bit earlier so it felt less tacked on (and may have allowed the killer to show himself – they want us to think the killer is an old woman, hence the complete lack of a poster-worthy killer for the majority of the film).

All in all, it just further proves my theory – no college slasher is as awesome as the ones that played in my head when I was at college. I really should write those down.

What say you?


PLEASE, GO ON...

The Alphabet Killer (2008)

OCTOBER 18, 2008

GENRE: SERIAL KILLER
SOURCE: THEATRICAL (SCREAMFEST)

The other day I defended Hatchet’s “stunt casting” on its IMDb board, because someone said it was annoying to have so many horror stars in brief roles and that they were just there to get the film into theaters. Rather than ask this person what universe they lived in where a film with Tony Todd or Kane Hodder guaranteed a theatrical release, I simply pointed out that Hodder was in the entire movie, and that Robert Englund and Josh Leonard’s characters needed to be played by names so that their death would surprise and/or resonate (since after them, no one dies for another 45 minutes). However, in the case of The Alphabet Killer, I can’t defend the decision to cast it with so many names who only appear in one or two scenes.

NOTE - I spoil the killer's identity, but it's pretty goddamn obvious if you know the casting traditions of bad serial killer movies; see The Bone Collector for an example.

The producers said that they wanted to give you lots of red herrings, so they cast it with legendary screen psychos like Tom Noonan (Manhunter), Bill Moseley (Devil’s Rejects) Michael Ironsides (er, Visiting Hours?), and Cary Elwes (Kiss The Girls; that one is the producer's example, not mine). But with the exception of Elwes, none of them have a significant enough role to qualify as an acceptable killer (Noonan disappears entirely after the first ten minutes, and Moseley only has a single scene that could have been cut entirely with no real loss), so who does that leave? Gee, I dunno, maybe Oscar winning actor Timothy Hutton, who has absolutely NOTHING to do in the film until he is revealed as the killer. They might think its genius to cast the villain with the one “good guy” actor of the bunch, but it’s really just sort of amateurish and predictable.

The only other actor of significance (besides Eliza Dushku, more on her in a bit) is Tom Malloy. Who, you might ask? Well if you’ve read every review on this site (why?) you might recognize him as the writer/co-star of the god awful Mary Lambert movie The Attic. He also wrote this one, and once again he writes himself a nice little scene (a great throat slashing in that film, making out with Dushku here) but does little else to make the audience understand how he got either job. He’s not terrible as an actor, but he’s completely forgettable just the same, and the script is as lame as I’ve seen in this subgenre in quite some time (with extra points taken off for turning a real, unsolved mystery into such a dull film).

The biggest problem though, sadly, is Dushku. She’s hot (and offers sideboob +10% or so here), and when playing the bad girl she can shine, but writing her as a hardened detective is on a level with Tara Reid as a scientist in Alone in the Dark. The fact that she’s simply not old enough to have the sort of world-weary, “seen it all” attitude the character requires (I’m surprised she didn’t have a “I’m four days from retirement!” speech) aside, she also plays the character as mentally unhinged. And by that I mean “she cocks her head around and fidgets in just about every scene”. It’s laughably bad, and gives the impression that her character (who is supposed to be suffering from intense “feeling” of the pain the victims felt, or something of that nature) is suffering from Parkinson’s (or is just simply autistic). If there’s one thing one should never be doing in a film based on a real life tragedy, it’s laughing hysterically. Robert Downey Jr may have had some fantastic lines in Zodiac, but they weren’t related to the crime scenes. What if the mother of one of the real kidnapped/murdered children sees this film and the guy in the row (OK, on the couch) next to her begins giggling at the sight of Dushku “feeling” her daughter’s pain?

Plus, Malloy’s script never feels genuine. Some quick research reveals that they used the right town names and the same initials for the girls* and little else from the real story, but more distracting is that he didn’t bother with details on anything else either. None of the cops or procedural scenes feel authentic, and while they never bother saying the exact date, there is a seeming attempt to make it feel like the 70s (when the real case occurred) in some scenes, yet others have the internet.

The only principle who escapes relatively unscathed is director Rob Schmidt. It’s a well shot film (other than a truly horrible 360 scene – not a shot, an entire SCENE – that made me want to smack him around with the tripod he obviously wasn’t using) and with the exception of Dushku, he gets good performances out of his paycheck grabbing stars (Elwes may be packing on the pounds, but he’s a lot better here than he was in Saw at any rate). He also roped in his Right To Die star Martin Donavan to play a grieving father for one of the film’s few good scenes, so there’s something. I liked RtD, and while Wrong Turn 2 topped it in many ways, I think the original was one of that year’s best horror movies. But he hasn’t written his own material in quite some time (and it wasn’t a horror film when he did); something he should maybe consider next time around.

What say you?

*I wasn’t expecting the real names to be used, but couldn’t Malloy have come up with a better “W” name for a grieving father of a kidnapped/murdered child than Walsh?

PLEASE, GO ON...

October Extras 2: The Rock (1996)

OCTOBER 18, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: BLU-RAY (OWN COLLECTION)
LAST SEEN: 2006 (DVD)

Summer 1996 was a pretty good one for action fans. You had Eraser, which is the last “80s style” Arnold movie; Fled, which offered the sort of low-key, simple (but plentiful) action that I enjoy (and introduced me to Will Patton, one of my favorite character actors), and seeing ID4 on its namesake holiday remains one of my all time favorite movie-going experiences; standing up and high fiving strangers at the end of Pullman’s speech and what not. But rising above them all was Michael Bay’s The Rock, a film that even his biggest detractors often begrudgingly admit is “pretty good” (hey, I’ll accept that).

The Die Hard formula has been used several times over the past 20 years, but I can’t think of one that ups the ante as well as The Rock did in terms of action, but also kept the the things that made Die Hard work as well as it did – an unlikely, everyman hero; an interesting villain (with a bonus good cause to boot!), a genuine motive for the heroes to succeed, etc. Take a film like Passenger 57 – Snipes is introduced as a badass, the girl is someone he just met, the villain is just some generic euro-trash guy, and if Snipes fails then... a plane crashes? So the fuck what? But both Cage and Connery have real people to protect and for us to care about (Cage’s fiancé, and Connery’s daughter), giving their mission a sense of personal drama that some of the others miss entirely.

And since this is a Michael Bay film, you know the action will be awesome, as per his demands. The car chase early on has almost nothing to do with the film, but how fucking great is it? His Bad Boys II chase may have been legendary in its destruction (and amazing use of CGI – Bay being the only director who consistently uses CG correctly), but it lacked the thrill of the one here, which I occasionally watch on its own just to marvel at the way it is put together (not to mention exercise my surround sound). But later sequences are great too, such as the laundry chute chase/shootout that ends the action star career of John C McGinley. One thing about Bay that I admire compared to other modern action directors is that he actually shows bullets fucking hitting things besides people. Take the Precinct 13 remake, for example. There’s a bit late in the film (right before they go into the Detroit forest) in which we see Larry/Ethan shooting at the bad guys, and the bad guys shooting back. Director Jean-François Richet cuts back and forth, and no one is being hit, nor do we see what the bullets ARE hitting instead. What the fuck? Are they shooting blanks? But here and throughout the film, sparks, dust, debris, papers, anything that’s around will get shot up and scattered around the shot, totally selling the sequence.

Also, this was Cage’s first big action movie, so while nowadays it’s a bit of a bore even when he’s being quirky, it was pretty hilarious and unique to have this big action movie where the hero is so completely inept, and, a likely invention of Cage himself, trying so hard to sound like a badass. You get the idea his character SAW Passenger 57 on TV, and, now that he’s in a similar situation, is trying to do what Snipes would do. It’s a very underrated, hilarious performance. And Connery may not be doing anything new, but it’s one of his last great roles, and when he’s having fun, it certainly shows. The expression on his face when Cage tells him that “Carla WAS the prom queen!” is one of the most delightful things I’ve ever seen.

Plus, you get Ed Harris as the bad guy. Whenever I see an actor being miscast in a movie, I always say that they should have cast Ed Harris instead. Because he can do no wrong, far as I’m concerned, and is one of very few actors who can legitimize even the otherwise lamest excuse for a movie. “Stepmom? Are you fucking kid- oh, Ed Harris is in it? OK, it should be fine then.” He’s a rare villain here, though of course his character is actually pretty noble and won’t harm any innocent people. Still, that’s what makes his character interesting, and without that plot point, an actor of his caliber probably wouldn’t have taken on the role (indeed, Harris initially passed until rewrites came in). Also, without Harris, the outtake reel wouldn’t have been as terrifying.

Yeah, apparently, he’s a great actor and also a complete psycho. He laughs at his blown lines on occasion, but otherwise, the outtakes show him slamming things around, screaming FUCK! at the top of his lungs, and scaring the shit out of his co-stars (David Morse visibly flinches on one occasion). And this is for what, let’s be honest, is sort of slum work for him. I can’t imagine how he is when he’s doing a pet project or directing. It may be where Bay got the idea to be such a tyrant though; he’s pretty easy going and calm throughout the extras, which is a total 180 from the behavior he displays on the Pearl Harbor DVD.

Sadly the outtakes are one of the few extras of note on the disc. Granted, it’s before the days of special editions (it was originally all on a laserdisc that probably cost 100 bucks), but the stuff here is still pretty slim. A lot of it doesn’t even really concern the movie, such as a pair of features about gun training (featuring “action star Marshall Teague”) and real Navy SEALS (in which I learned that part of their training is a week in which they only are allowed 4 total hours of sleep – a hilarious movie can be made about a narcoleptic navy SEAL trainee!) and a “too short to be useful” piece about Alcatraz. There’s a brief look at the CGI and a promo piece about the premiere, and then an interview with the Bruck in which he says the same things he always says on these things. There is also a commentary, but I didn’t have time to listen (and even if I did I probably wouldn’t bother, as Criterion insists on recording their commentary participants separately and editing the “best” parts into one track, so they’re usually pretty lame).

The trailer, however, is worth pointing out for a couple things. One, it’s really fucking long. Three minutes? That’s like, 1/40th of the movie! Two, trailer VO king Don LaFontaine actually points out an interesting aspect of the plot that the movie never really explores; that the government needs their enemy (Connery) to help them take down the guy sworn to protect them (Harris). And three – it goes out of its way to make the film look like a serious thriller, instead of a fun and hilarious action movie. None of the good lines are in it (even the “prom queen” one is cut down to just Connery telling Cage that losers always whine – which isn’t even funny, and the edit just makes Cage look like a tool), and all of the action shots are confined to the final 20 seconds; the previous 100 are just guys in rooms talking, shots of Marines in formation, etc. I guess since the more serious minded and low on action Crimson Tide was a bigger hit than Bad Boys in the previous year, the marketing guys thought they would appeal to Tide fans instead? I dunno. All I know is, the shot of Cage diving after that green ball is in every single trailer/spot ever for the film, and rightfully so.

All of the extras from the Criterion release were ported over to the Blu-ray (which is rare, since it’s not Criterion’s release), which is all the more surprising when you consider how good the movie (which is fairly long) looks. The details on Connery’s face/beard are extraordinary, as is the color on certain scenes (like the green balls of VX gas). Bay only has two colors in his world: orange and blue, so in the rare moments with lots of other colors (the car chase), the details and color really pop. The Rock was the first movie I ever saw on DVD, and I recall thinking how amazing THAT looked, so this is a real eye opener.

I also want to share an anecdote. After seeing the DVD at a friend’s house, I begged my mom to buy me a player, trying to use my lowly VHS copy as an example of how crappy it looked. “No, because then something better will come along!” she said. “How can it possibly look better than this!” I replied, and now, 11 years later, I watch the now 3rd copy of the film I have bought. I hope this review is still online when something that looks better than Blu-Ray comes along and I further line the pockets of Bay.

When people bitch about Criterion releasing this (and Armageddon), I just want to smack them. Not because they are obviously anti-Bay and thus anti-American, but because they obviously don’t get it. I’ve said it before, but it’s worth repeating: Criterion does not release “the best movies ever made”. They release movies that represent different styles/approaches to filmmaking from around the world. If you have lived in a bubble your whole life, and then you come out and want to understand what an American popcorn action movie is, can you really name a better example than either of these films? And if so, can you shut the fuck up? Cuz no one asked you.

What say you?

PLEASE, GO ON...

Eden Lake (2008)

OCTOBER 17, 2008

GENRE: SURVIVAL
SOURCE: THEATRICAL (SCREAMFEST)

Like last year’s Storm Warning, sometimes a traditional “Vacationers run afoul of evil locals” movie can do the trick, despite not doing anything really different than the ones that have come before it. So while it may sound hypocritical to say that I enjoyed Eden Lake after trashing on Train or Keepsake, something about this “torture porn” movie clicked, and I ended up enjoying it.

One thing it got right that those other two didn’t is a sense of pace. It’s not wall to wall gore and violence; in fact nothing “bad” happens until 45 minutes in or so. That means we get some goddamn character development (remember that stuff?) for our two heroes, and our villains are actually set up, as is the conflict (which IS somewhat original, actually) that ultimately elevates their antagonism to full blown terror. Also, as there are only two “good guys”, we are spared excessive violence, unlike Keepsake, which kept on rolling in additional victims to provide “horror” while keeping our heroine safe. No nosy cops, random folks in the woods, etc... the focus is kept on our two protagonists throughout the film.

And without spoiling much, I liked the rather grim tone, because it was EARNED. Some of these downer endings come from films that were otherwise kind of fun, but writer/director James Watkins' script stays true to itself throughout; it’s a dark film, and it ends that way. It may not be very crowd-pleasing (though there are a couple moments where you’ll want to cheer, like when our heroine gets a bit of sudden revenge on one of the attackers), but it’s much better than suddenly switching gears in the final five minutes. The end of the film (which is spoiled on the IMDb – don’t read it!) is a twist on the ending of a very famous film of this subgenre, something I also dug, especially since I don’t think it’s been done before, which is kind of surprising as it seems obvious.

There are a couple moments that I found a bit silly though. At one point our heroine hides in what appears to be a dumpster full with shit. It doesn’t seem to be connected to a sewer or anything, nor does it seem to be very comfortable for any life form to sit on, so how it became loaded with its particular “cargo” is baffling; it seems like it’s just a wince-inducing way to put the poor lass in another horrible situation instead of having her hide in some trees again.

Also, there’s a cheesy moment involving an engagement ring. I understand the point, and it’s nice and all, but it’s still cheesy. Plus, it comes at a “make it or break it” point in the film, and I think some folks will be on the side of the latter as a result. I wish Watkins had gone through a bit of rewriting for this particular plot point, as it ultimately only serves to make you feel bad for the victims, something you already SHOULD be feeling.

As the Dimension EXTREME! ad (the one that played before every single goddamn movie at Screamfest this week) tells us, Eden Lake will be hitting DVD relatively soon, so if you can stomach one more survival horror film before the end of the year, I think you should make it this one (unless you still haven’t seen Inside).

What say you?

PLEASE, GO ON...

Parasomnia (2008)

OCTOBER 17, 2008

GENRE: PSYCHOLOGICAL, SERIAL KILLER
SOURCE: THEATRICAL (SCREAMFEST)

After watching a promo reel at the last Fango convention, I was pretty sure that, if nothing else, Parasomnia would be Bill Malone’s most visually interesting film. And I was correct; for a low budget independent film (Malone funded the movie entirely out of his own pocket!), the dreamscapes and various visual setpieces are pretty damn astonishing. But while it’s certainly an improvement over the storytelling of his last film (Featdotcom), there were a couple story issues that kept me from really loving the film.

One thing is that the hero of the movie is kind of a creepy weirdo. He essentially kidnaps the heroine (who suffers from the titular, and apparently real, affliction), and then “bathes” her later on (removing all of her clothes while she is asleep), something that became a running gag amongst ourselves (essentially, whenever the girl got food on her chin or whatever throughout the film, someone would say “You need a bath....” and we’d all be rolling again). There’s the flawed hero, and then there’s the “this guy really isn’t that much less dangerous than the villain”.

Speaking of the villain, I liked that he’s a giant imposing guy (the awesomely named Patrick Kilpatrick, who indeed popped up playing an Arnold-esque Terminator on Sarah Connor Chronicles just a week or so ago) who is also intelligent, but his constant quoting of literature and such gets a bit annoying. He barely ever actually “says” anything, it’s almost all quotes. We get it, he’s smart – but does he have his own thoughts too?

Otherwise, it’s an above average “killer and victim are linked” serial killer movie, with some truly great sequences. There’s a bit late in the film where Kilpatrick has a bunch of automatons play a song – it’s creepy and weird and awesome, and I wish there were more of them. And any movie with Jeffrey Combs can’t be altogether bad, and even though I’m not a fan of the film, I liked that he was essentially playing the same guy he played in Feardotcom. He has about as much screen time as he did there, which is a shame (more Combs!) but he has a partner to verbally spar with, someone almost equally amusing (instead of the dull character Stephen Dorff was playing in the earlier film), so that’s good.

It could use a big thrill element earlier on in the narrative (Kilpatrick’s character doesn’t really become a threat until the 2nd half of the film), but it’s still a step up for Malone as a filmmaker, and I look forward to what he does next. I also hope the eventual DVD contains some of the footage that was apparently cut (I heard someone say that his rough cut was much longer – not sure if that’s true), but a theatrical showing shouldn’t be taken out of consideration. The visuals and automaton work (some by KNB) deserve to be seen on the big screen.

What say you?

PLEASE, GO ON...

October Extras 2: Brokeback Mountain (2005)

OCTOBER 17, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: NOVEMBER 2005 (THEATRICAL)

Even if I had hated Brokeback Mountain, I would have always appreciated it, because it was the film that made me appreciate living in Los Angeles. I remember seeing the ad on TV a few weeks after I had moved here, and when it said “Starts Friday in select cities.” I instantly thought “Aww...”, but then remembered that I now LIVED in a “select” city. So I went over to Fandango and bought a ticket, which in retrospect was something of a miracle, as it broke records for ticket sales for a limited release that weekend.

It also helped me realize what a douche my coworker is, because a few months later, when the Best Picture nominees were announced, he retorted “Why would I want to see a movie that was sympathetic to homosexuals?”. So I took perverse pleasure in watching the film at work today; I can only hope he saw a scene of Jake and Heath making out before writing his next letter to Sarah Palin (I’m not exaggerating, he legit wrote her a letter last week) or voting yes on Prop 8 or whatever it is ignorant assholes do with their time.

The other day I wrote a review for Keepsake, and pointed out that the film had zero ties, thematically or otherwise, to the previous film from the filmmaker. Now, I don’t think a director ALWAYS needs to explore the same ideas or even use the same composer or whatever to tie his work together, but it’s worth noting that Ang Lee’s previous film was Hulk, and on paper you’d never think that film would have anything in common with a movie “about gay cowboys”, but in reality, the two DO share some thematic similarities. In the end, both films are about a man who tries to suppress his “other” side despite the fact that he actually prefers it. While Jake Gylenhaal’s character eventually begins to sleep around with other guys, Heath Ledger's Ennis never really embraces this aspect of himself. Yet, you can plainly see that he is simply happier when he’s with “fuckin’ Jack Twist”. The only times in the film Heath’s character appears to be happy, or even content, is when he sees Jack for the first time in years, and in the few scenes on Brokeback when they’re not arguing over his inability to leave his wife and “come out”, for lack of a better term.

And even if you’re an ignorant fuck, you can’t deny that it’s a beautifully shot, engaging character study. Heath’s aging is fairly unconvincing (and half-assed - at least Jake grays his air and grows a moustache; Heath’s appearance never changes at all), but the passing of time is otherwise handled beautifully in the film. We don’t get any “3 years later” type nonsense, nor are there any “time passing montages” to annoy us. At one point, Michelle William’s character asks Ennis if they can rent a place on top of a Laundromat; a few scenes later, they are living there (and have been for a while). It is understood that time has passed, that he is trying to make her happy (he initially rejects the idea of moving), etc. without it being beat over our heads.

I also like the ambiguous ending. We’re never quite sure if Jack really did die in an accident or if he was the victim of a hate crime, and that’s fine. It doesn’t matter – he’s gone, and Ennis finally admits, if only to himself, how much their relationship meant to him. It’s a very subtle scene (maybe too subtle; I had to turn on the subs to understand what Heath’s final line is), and a very simple one at that. He simply looks at a shirt hanging in the closet (to give you an idea of how strong the scene is, it was parodied on The Simpsons in an otherwise un-similar episode; something they hardly ever do anymore, especially for a non “geek” film), and the wonderful, heartbreaking Gustavo Santaolalla score begins to play. All this from the guy who gave us the “Josh Lucas outline” in the climax of his last movie.

And, not for nothing, but for a movie known primarily as “the gay cowboy movie”, it’s got some terrific eye candy. Michelle Williams, Anne Hathaway (nude!), Anna Faris, Kate Mara, and Linda Cardellini make up the female cast, and not only are they all terrific, but I mean, Christ! Five beautiful woman in a film about two guys? That’s gotta be a record of some sort. It’s also the only GOOD movie in many of their careers (for example, Kate Mara’s other work includes Urban Legend 3, Shooter, and Zoom), so there’s something.

The DVD is actually rather slim, which is a surprise considering its success (it was the highest grossing Best Picture nominee for that year). A lame promotional look that aired on Logo, and a trio of featurettes that total less than 30 minutes combined is hardly what I would call a “wealth” of extras. Another edition came along later, and had some more minor featurettes, but still no commentaries or really in depth looks at the film’s production. Oh well.

Between this and Dark Knight, it’s pretty clear that Heath, who began his career starring in complete garbage like Knight’s Tale, would have been one of our most cherished actors had he not unfortunately passed. It’s a shame that he is gone, but the fact that he was so great in this movie that there was a time that his casting in TDK was considered laughable speaks volumes for his talent. It’s depressing that the film was passed over in favor of one of the absolute worst movies ever made (Crash), and there was a weird sort of circular movement that resulted in him not winning the Best Actor award (Clooney got it for Syriana, as a consolation prize for him not getting the Best Director for Good Night and Good Luck, which went to Ang for this to make up for Crash taking away his rightful Best Picture award!), but the fact that he was nominated for pretty much every award ever for his performance (and won a few) is probably just as good.

In short, if you’ve dismissed this movie because you’re a homophobe, well, you’re even more of an idiot than previously understood.

What say you?


PLEASE, GO ON...

Train (2008)

OCTOBER 16, 2008

GENRE: SLASHER, SURVIVAL
SOURCE: THEATRICAL (SCREAMFEST)

"Was this written before or after Hostel?" - Awesome audience member

And that was the first question of the Q&A for Train tonight at Screamfest, setting the tone nicely for the hilariously awkward 10 minutes that followed. Since the movie was such a dull combo of Hostel and Turistas (superior films in just about every way imaginable), it made the Q&A seem like a blast. Someone else thought Train director Gideon Raff was William Malone (?!) and rambled about how much he enjoyed House On Haunted Hill. And there was a significant lack of enthusiasm when Raff mentioned that Lionsgate had picked up the film (enjoy your 12 screen release in dollar theaters, buddy!).

While certainly better than Keepsake (since it actually had some semblance of a story and better production value), it doesn't change the fact that Train is simply a pointless rehash. I kind of like the irony though; the film began as a remake of Terror Train, but it eventually "became its own thing". Of course, that "thing" is simply making a more violent, "torture porn"y version of Turistas, where our villains are actually taking organs and other body parts in order to improve the lives of others. However, unlike Turistas (which is a very underrated thriller in my opinion; if nothing else, this movie should appeal to those who wanted more Hostel-style gore/death in that film), it doesn't seem like the organ transplant stuff is a genuine plot device that the film was built around; it's just sort of tossed in halfway through and barely acknowledged afterward; as if it was only put in so people wouldn't accuse it of only ripping off Hostel.

I also took issue with a rape scene about halfway through the film. Raff and his crew have zero qualms with showing brutal violence against innocent people, leaving nothing to the imagination. Yet when its time for a rape, he doesn't show anything. That's sort of off putting to me; no, I don't WANT to see rape, but I don't WANT to see a guys chest being torn apart either. How is one thing suitable for "entertainment" but not the other? To me, that's like if Trey Parker and Matt Stone suddenly decided that making fun of a particular race or religion wasn't OK. You gotta go all out or not at all.

And I don't usually have a problem with Thora Birch, but she seemed bored out of her mind throughout the movie. She delivers her lines with about as much emotion as an SNL host, and I never buy her as a wrestler for a second. And since the movie's design makes her pretty much the only "good guy" left after about 55 minutes, it's kind of hard to be engaged by her character's "story" (pfft) when the actress herself doesn't even seem to care if she lives or dies. Gideon Emery is the only actor who seems like he's trying, and his character is the only one that is slightly interesting. Gloria Votsis is nice to look at, but her character is as useless as they come, and also her "death" scene sums up precisely everything that is wrong with the film. See, no one is killed right away, because the organ transplant procedure requires them to be alive I guess. But that doesn't stop one of the "doctors" from ramming a hook through her neck so it comes out her mouth. It's an act that could have easily killed her, so why do that? Why not just drug her (and everyone else) rather than inflict gory violence? Oh, because you need to be EXTREME! or else no one will care about the movie.

Once again, we have a movie that should be set entirely in its titular location (once they get on it anyway), and yet it seems they are off the train for like 20 minutes during the 3rd act. Keep it on the goddamn train! At least when Speed got rid of the bus, they kept the spirit of public transportation going, setting the finale on a subway car. But Thora gets off the train and begins wandering around a big ol' mansion in the middle of the woods, completely destroying one of the movie's few good points (the claustrophic setting).

Like I said the other day, this is the type of movie we simply need to put an end to. Production value, makeup effects, etc - they are all great in this movie, but they service a story (I use the term loosely) that doesn't need to be told (again). It's bad enough that the Saw and Hostel films (moreso the first than the second) are dismissed as brainless violence, but when shit like this comes along, it tarnishes their reputation.

What say you?

PLEASE, GO ON...

The Collective (2008)

OCTOBER 16, 2008

GENRE: HORROR?, THRILLER
SOURCE: THEATRICAL (SCREAMFEST)

In theory, a modern version of The Seventh Victim is fine; you have new technologies to use, thousands of batshit religious cults to use as the villain, and just a very different world all together – the possibilities for a filmmaker to “make it his own” are near endless. But The Collective is too damn dull to live up to Lewton’s film (which it apes almost shamelessly at times), and while the post film Q&A explained some of the film’s problems away, it still doesn’t make it very exciting or even interesting.

The director admits that it’s not a horror film (then why submit it to a horror festival?), just a thriller. But it’s not thrilling, at all. At no point during the entire film did I feel like the main character was in any real danger. Halfway or so through the film she is knocked out and brought to the main “bad guy”, but even then their interaction has about as much tension as a PTA meeting. So for 90 minutes you’re not worried about anyone, and not really drawn into the plot (and there isn’t much of one beyond “A girl looks for her sister”) either. You’re just sort of hanging out, watching this girl make phone calls, talk to people she doesn’t really know, and endlessly repeat conversations in her head in order to extend the running time.

Luckily the girl (Kelly Overton) is cute. The director/writer/producer was wise to keep her onscreen as much as possible. Oh wait, Overton IS the director/writer/producer. At least one of them. Her co-director/writer/producer (who also shot, edited, and composed the film – whoa!) is a guy named Judson Pearce Morgan, and despite the snail’s pace and lack of involvement, I give props to both of them for making a truly independent feature film in New York City. And it’s certainly well made; the only problem technically is their insistence on using time-lapse photography every two minutes (you know, when you just watch cars go through an intersection at super speed over the course of a few hours). Plus, in the Q&A, they explained that they were on a tight schedule, and given the guerilla style nature of the production, would sometimes shoot things and figure out what to do with them later. Not exactly the BEST way to make a film, but hey, do what you gotta do. I’ve always been of the opinion that a film should be written BEFORE its shot, instead of after, but what do I know?

So, whatever. It’s one of the few truly independent films they’ve shown in the festival so far, so I feel bad for knocking on it, but I really can’t recommend a thriller in which there are no thrills, and it certainly doesn’t really qualify as a horror movie either. It looks nice and it exists... but that’s about as much as I can honestly say.

What say you?

PLEASE, GO ON...

October Extras 2: Rain Man (1988)

OCTOBER 16, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 1999? (DVD)

I credit Rain Man with being the first “actually good” movie I ever liked as a kid. Not that the F13 sequels and John Candy movies I liked when I was 8 or 9 are bad, but none of them were even nominated for Best Picture, let alone won (though I stand by my belief that if not for Platoon, Friday the 13th Part VI: Jason Lives would have been a shoe-in for 1986). But Rain Man was a personal favorite, and I watched it all the time throughout the next ten years. It’s been a while (fuck you, Mick – time is NOT on my side), but the movie still compels, and makes me wish I had the patience (or talent) to write anything but horror movie reviews and animated shorts.

This one is just chock full of subtle moments and gestures that add immensely to what could have been a rather standard buddy road movie. Indeed, it had many screenwriters and was sort of tossed into theaters unceremoniously, before going on to win Best Picture (not to mention the all important “Made more money than any other movie released that year” award; this was back when people actually SAW the Best Picture nominees). Early on, Charlie (Cruise) freaks out and says definitely over and over, foreshadowing his brother’s frequent use of that word. Very late in the film, we see Cruise eating a cheesball off of a toothpick, a habit of his brother’s that he denounced in the first of many diner scenes in the film. In the hands of a hack (or a modern director who needs to spell everything out for the idiots movies are made for today), the toothpick/cheeseball combo would be given a closeup, and maybe a line of dialogue (“Look Ray, I am eating the same way you do, instead of being mean to you about it!”) to make sure Joe Sixpack “got it”.

It’s also a very funny movie. If there was ever a sort of award for making the funniest non-comedies ever, it would be given to Cruise. Along with A Few Good Men, Rain Man is much funnier than even the legit comedies he has appeared in over the years. Dustin Hoffman gets the bulk of the laughs (“K-Mart SUCKS!” was a frequently rewound line as a kid), but Cruise gets plenty of choice moments as well. “When Abbott and Costello do it, it’s funny. You’re the comedy team of Abbott and Abbott!”

Like Shawshank, in the end, it’s just the rare movie that focuses on two guys bonding over a period of time. No need for women to distract (Valeria Golino’s character is fairly superfluous, and thankfully written out for about 75% of the movie) the attention away from what’s really appealing about the film; watching two great actors completely embody characters you like, both embodying the role of “main character” (it’s worth noting that Hoffman is given top billing, while Cruise has more screentime) and striking the perfect balance between drama and light comic elements (I’d never call either a “comedy”).

The DVD has three audio commentaries. I listened to the one with Barry Levinson (the other two are by the screenwriters) and wished I hadn’t bothered, as he mostly just watches the movie and most of what he says concerns changes to the script, something the screenwriters would have probably been better authorities on anyway. But time is, as always, a factor, so I didn’t get to listen to the others. There is also a nice deleted scene (not quite sure where it would fit in – it seems to be an alternate version of the “Don’t Walk” scene where instead of stopping in the street, Raymond is harassed in a store before Charlie rescues him) and a cheezo Featurette from 1988, plus the awful trailer. I would have liked some Cruise and Hoffman input, but alas.

What say you?


PLEASE, GO ON...

October Extras 2: Meet Joe Black (1998)

OCTOBER 15, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2007 (HD CABLE)

I may be a bit annoying in a movie theater; I have a tendency to laugh loudly and mutter things under my breath. For an example; after the Halloween remake got out, my friend said “whenever the movie was quiet I could still hear the sound of you sighing”, and he was sitting like 3 rows back. But only once did I annoy someone so much that they felt the need to switch their seat, and that was during Meet Joe Black. I laughed so loudly at an “inappropriate” moment that a woman two rows in front of me stood up and moved to the other side of the theater. If you’ve seen the film, or were ever sent a Youtube clip, I’m sure you can guess which part.

Now, this is a movie I like but can’t really defend. With Armageddon or Shocker I can possibly change someone’s mind if given the chance (and the beer) to do so, but with Meet Joe Black, there is nothing I can do. Even the things I like about it, when I say them aloud they don’t seem very appealing or even interesting in the slightest. “No, it’s great. See, he’s never had peanut butter before.” “There’s a great scene where Anthony Hopkins tries cake.” Yet, I’ve probably found a way to watch it at least once a year since it first came out (and pretty much always alone, sadly). There’s just something puzzlingly enjoyable about the film.

You gotta hand it to Martin Brest and editors Joe Hutshing and Michael Tronick too; they deliver what may be the first ‘true’ 3 hour movie. Titanic is a “3 hr movie” that’s actually 3:17, Heat is actually around 2:50, and the LOTR films all have about a 10 min under/over (theatrical versions). But Meet Joe Black isn’t “like 3 hours long”, it’s EXACTLY 3 hours long. 3:00:00. Not a second less, not a second more. Whether it was done on purpose or not, I don’t know, but it’s awesome (I also like looking at the back of the DVD, which reads an almost comical “3 hours” instead of “180 minutes”, which is the usual language).

The funny thing about that is that the script is actually around 120 pages, if memory serves. Scripts run a minute a page, more or less, so the resulting film should have been about 120 minutes long. But the pauses in this movie are damn near legendary. Simple conversations take forever, and actions are drawn out for infinity. When Joe finishes his spoonful of peanut butter, he looks around for a place to put the spoon for 20 seconds, then goes to put it in his pocket, before Claire Forlani (whatever happened to her, anyway? Would smash) stops him and takes it herself. 30-40 seconds of a movie devoted to where a spoon should go. I love it.

It’s also a dryly hilarious movie. Jeffrey Tambor is chiefly responsible (“I love little girls...”), but Jake Weber, in one of his first big roles, is delightfully sneery as the corporate slimeball who is trying to merge Hopkins’ company with some other guys’. It’s funny, I’ve seen the movie probably 10 times now and I still have no idea what the hell is going on with any of the boardroom/corporate stuff, but I don’t really care either. As long as Brad Pitt is eating cookies and saying odd things, I’m good.

And of course, the score, which I mentioned yesterday. It’s been selected as my funeral score (along with some selections from the work of one Mr. Jim Steinman of course), and I hope at least SOMEONE in the crowd knows what it’s from. Hum along! Dooo dooo doooo doooooooooooooo dooo, dooo dooo doo dooooooo dooo. Doodoodoo dooo. Doodoodoodooo doooo dooooooooo. I especially like it near the end (it’s the cue that begins at 2:44), when Thomas Newman takes a page from Bruckheimer and plays the basic theme over and over, just progressively louder, until the thing drowns out all other sound not just in the film, but possibly within a 10 mile radius of your home.

I also like using Joe as an example in why Hollywood is retarded. Somehow, this movie cost 90 million dollars. There are no big stars besides Pitt and Hopkins, the only special effect (besides the accident) is some fireworks, and 90% of it takes place inside a mansion that is probably a set. Where the hell did the money go? In the same year, we had Deep Impact. That movie had a ton of effects, an assload of stars, and took place all over the country, and yet the budget was about 70 million. Apparently, you can destroy New York for 20 million less than the cost of having Anthony Hopkins talk to Brad Pitt about cold lamb sandwiches.

All silliness aside though, it’s actually just a nice little (well, not LITTLE) movie. You don’t often get a film that presents two complete character studies, and Brest (and the half dozen or so writers) does a nice job of balancing Death’s story with that of Bill (Hopkins). It’s nice to see Death played somewhat seriously for once (I always like a movie that takes a ridiculous concept and manages to sell it by playing it straight), instead of as a slasher or a comic relief character. And Hopkins is in fine form throughout. The late 90s weren’t too kind to him (Instinct, anyone?), but when you need an actor to play a character that defines class and wealth, yet has his flaws, you can’t really do much better than Hopkins. Even when he dies, he does it classy.

I also like any movie in which the message is “live life to the fullest.” Hopkins’ speech at the end of the film is very moving, and every time I watch the movie I’m like “yeah! I need to stop slacking! I won’t get the week long “wrap it up!” warning from Death like Hopkins does!” And then of course I play Halo all night and wonder when I’ll have time to watch Armageddon again.

Speaking of the end, something always bugged me – that Death seemingly brings the guy whose body he took back to life. It’s been like a week, so the family has probably been notified and funeral arrangements have been made, things like that. All of a sudden he’s alive again, which is going to send a lot of his loved ones into some serious therapy sessions. Also, Hopkins’ corpse is probably just lying on the ground somewhere just a few feet away from where everyone is celebrating his birthday party. Some guy goes to look for the bathroom or maybe wants to sneak off to the side to make out with his friend’s wife, sees his host’s body just lying there.... downer.

Of course, the film tanked, raking in about half its production cost. Hilariously enough, a lot of the money it DID make was the result of fanboys paying for a ticket so they could see the trailer for The Phantom Menace, which was inexplicably attached (not the same studio, certainly not the same audience, not even the same goddamn MPAA rating). I can only hope history will be kinder to Joe than Phantom, but I doubt it. Ironically, I missed the trailers (and the first couple minutes of the film) when I went, which means I’m probably the only nerd in the world who was walking INTO the film during the opening credits instead of out.

The only extra of note is a “Spotlight on Location”, which is a cheesy EPK thing that Universal used to always toss on their DVDs. Other than hearing Forlani speak with her British accent, it’s pretty worthless, but it’s all we MJB fans got. Uni double dipped, but all they did was put the original movie (Death Takes A Holiday) on a 2nd disc and add a DTS track. I never bothered, but if they ever put out a Blu-Ray... shit. You’ll be able to actually HEAR all of the dead pauses!

What say you?

PLEASE, GO ON...

Splinter (2008)

OCTOBER 15, 2008

GENRE: BREAKDOWN, MONSTER
SOURCE: THEATRICAL (SCREAMFEST)

After a strong start, Screamfest has been middling at best until today, when we finally got a movie that delivered big thrills on an independent budget. Splinter is not a perfect film, but it’s fast paced and fun, which is more than I can say about the movies for the last couple days (Keepsake, anyone?). And I say this after damn near arrestable offenses in screening time etiquette.

I have no children, a daytime job (one I don’t really take seriously anyway), and my only nighttime obligation is to try to keep a decent K/D ratio on Halo 3. But that’s me. What about the other 270 people in the theater who bought a ticket for a 7 pm film that didn’t start until almost 9 o’ clock? Festival delays are hardly uncommon, but tossing the longest “short film” ever made (with its own Q&A to boot) into the mix is pretty shitty. Then there were technical delays, an intermission... come on now. I suspect it was a joint conspiracy between the theater, the parking garage, and Lucky Strike, who was holding the after party, to keep us there as long as possible. Less free beer, more parking fees. Suns of bitches!

But all was forgiven as the movie unraveled. It didn’t have the most original setup in the world: a vacationing couple is held hostage by escaped convicts, but then they have to band together against a common enemy, holed up in a single location. But director Toby Wilkins (who also co-wrote) knows how to play against expectations, and therein lies the secret of the film’s success. For example, one of the “bad guys” is clearly not so bad; she doesn’t want to hurt anyone, tells the more insane-seeming partner to calm down, etc. Clearly she will end up being an ally! Nope, she gets it first, and pretty early on to boot. And that’s just the start. Nothing’s Shakespeare, but I was continually surprised as to who sides with who, who plays hero, who shows his/her true colors, etc.

And that’s good, because it distracted me from getting annoyed at the camerawork during the monster scenes. The monster is pretty original and awesome, but you never really get a good look at it, because Wilkins, DP Nelson Cragg, and editor David Michael Maurer never let you. The camera is always jerking around, the cuts would give Michael Bay a headache, and everything is in closeup to boot. They claim that only 1% of it is CGI, so why they don’t show off their work is unknown to me. Like any good film of this type, they have other things to worry about besides the monster, which allows the film to have a great amount of suspenseful bits that aren’t soiled by the frenetic camerawork (which is relegated solely to the monster attacks), but it’s still a bummer.

It also looked great. It was shot on the HD something or other (I always like how the directors say exactly what camera. I wish I had something to get that specific about for what I do for a living. “Yeah I use the News Gothic font!”), and transferred to film. The image is vivid, and despite being shot almost entirely at night, everything is in focus and visible. Again, after a week’s worth of washed out DV films and/or DVD projections, it’s nice to see someone take pride in their film and put effort into giving it the best presentation possible.

Magnet is giving the film a small release; if you can, please check it out on the big screen. I miss having straight up monster movies without gimmicks (Cloverfield), and while I know damn well that the film won’t give Jaws a run for its money, I would like to know that I’m not the only one with an interest in such things.

What say you?

PLEASE, GO ON...

Keepsake (2008)

OCTOBER 14, 2008

GENRE: CRAP, PSYCHOLOGICAL, SERIAL KILLER, SURVIVAL
SOURCE: THEATRICAL (SCREAMFEST)

There are few things that would excite me less than the phrase “From the makers of Dark Harvest”, so to the credit of the Keepsake marketing team, they avoid mentioning it. Even in the post film Q&A they just referred to their “older films” without specifically naming them. Still, if I had to pick one to sit through again, I’d go with Dark Harvest hands down.

While a giant improvement in terms of filmmaking (no glaring continuity errors, actors actually acting, etc), the script for this film is utterly worthless, making even Captivity look good in comparison. It’s actually a lot like Broken (which I watched almost a year to the day ago), in that it’s really not about anything but tying a woman up, knocking her around, and occasionally trying to “shock” the audience by cutting an Achilles tendon or plying out a tooth or whatever.

I knew I was in for something shitty almost from the start. Shortly after revealing his intentions, our villain chains the girl up in a bathroom, before heading outside to deal with a cop who has happened by. She tries to free herself while we get a “suspenseful” scene of the guy dealing with the cop. The cop eventually gets killed, and the bad guy goes into the bathroom, just as she frees herself (how I couldn’t understand – she was chained up but somehow she gets the cuffs off by pulling her top over her head?). He then injects her with some sort of serum that knocks her out cold. Why the fuck didn’t he do that in the first place? Oh right – then there would be no setpiece. And then all the people who really thought she would escape from the killer in the first ten minutes wouldn’t be engaged by the onscreen events.

The rest of the movie is the usual Moebius strip of nonsense: girl gets degraded, another girl is killed while our heroine watches, “tense” dinner scenes, torture... etc. Writer/director Paul Moore tosses in a small variable (the girl keeps dreaming about her sister, giving her pep talks to help her escape), but it’s hardly enough to keep the movie interesting in the slightest.

And then the end, which not a single person in the crowd seemed to understand (the Q&A sounded more like a brainstorming session than anything else), and was probably designed to give the movie its own identity, just makes the whole thing even more annoying. I won’t spoil it, since it’s not out yet, but let’s just say that Donald Kaufman would approve.

These are the type of horror movies we simply do not need. There is no heart in anything on screen. If I had to theorize, Moore and producer Scot Tanner looked at the box office reports for the Saw and Hostel movies (too late to check Captivity’s I guess), maybe watched the trailers and got the “gist” (i.e. torture, twist endings) and decided to try to make their own. Seeing Dark Harvest actually made it even worse, because the two films have absolutely nothing in common thematically, stylistically... hell, if I hadn’t bothered to look at the IMDb, I would never even imagine they were the work of the same team. Seems to me that they failed at making a “fun” slasher film, so now they are apparently trying their hand at torture porn.

Some of the films at Screamfest have been underwhelming, such as Acolytes, but at least I could tell that the film was born out of an actual desire to tell a particular story, not to just make a cheap horror movie and hope to cash in on a “craze”. Congrats on your future deal selling Keepsake to Lionsgate (or, *fingers crossed*, Dimension Extreme!) and being one of a million undistinguishable movies on the shelf that only people like me will ever bother to watch.

What say you?

PLEASE, GO ON...

October Extras 2: The Shawshank Redemption (1994)

OCTOBER 14, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: 2004 (DVD)

Lots of movies may make you want to be an astronaut, or a cop, or whatever, but I am pretty sure that The Shawshank Redemption is the only movie that might make you want to be a prisoner (OK, maybe Con Air too). Apart from the rape, it seems pretty awesome in this movie: you hang out, play baseball, listen to Hank Williams, watch Rita Hayworth movies... what’s not to love? (again, besides the rape)

I met Frank Darabont at a Fango convention in 06, and he signed my script while I told him how it taught me more about screenwriting (and even directing) than any textbook I ever got in film school. And it’s not BS – if you are an aspiring writer and/or director, pick up the published screenplay ASAP. In addition to the wonderful script, Frank provides his notes, explaining why things in the film are different than on the page, why things were dropped, etc. There are also storyboards, a note from Stephen King... it’s a phenomenal book. He seemed very flattered, so while I’ve since met him a few times (I think the last time he even recognized me – nerd boner!), that’s definitely one of my happiest “celebrity moments”, because it’s rare I get to talk to someone who actually influenced my creative side and feel they’re actually listening to what I am saying.

And hey, the movie itself is pretty great. You don’t get round the clock showings on TNT unless you’re a movie someone would actually want to watch over and over. I don’t think there’s a single thing in the film that’s anything less than perfect: the acting, the directing, the writing, the production design (the cell block is a set?), the camrederie between the core group of guys, the score...

I want to talk about those last two things a bit. There’s a scene late in the film that is almost heartbreaking in its perfection. It’s pretty simple; it’s actually not even a whole scene. It’s just William Sadler telling a story about Andy while the other guys listen and laugh. Without saying a word, the other guys all expertly depict how much they loved the guy with their smiles and laughter, and the fact that Sadler’s telling a story that every single one of them was present for when it originally happened speaks volumes in itself. And in that 20 seconds, you understand so much about the film as a whole: that Andy may be one of them, but he’s also the one they look up to and can't be contained there; that the guys are settled into their prison lives (the scene would play exactly the same had it been set in a bar); that Red, who is laughing along but obviously distracted, is starting to finally see things from Andy’s POV... Christ. 20 seconds.

The score as well, deserves its own HMAD paragraph. Thomas Newman is not the most diverse composer in the world; his scores for this, American Beauty, Meet Joe Black, Green Mile, and Phenomenon are damn near indistinguishable from one another, but it’s an amazing score, so I can’t blame him for only making slight modifications to the general idea. I’ve actually requested that the Meet Joe Black theme be played at my funeral (Halloween and Armageddon’s themes would be jarringly inappropriate). Anyone who hears that sweeping, majestic orchestra as Andy and Red embrace on the beach and doesn’t cry is simply not a human being.

It’s a shame that Green Mile made a lot more money than Shawshank at the box office, but it's telling that while that film may be more financially successful, it has not endured to the extent that Shawshank has. Shawshank still finds itself atop IMDb’s top 250 list, but Green Mile doesn’t even place in the top 100. And I think that’s due to the fact that while it’s not a bad movie by any stretch of the imagination, the script was too mechanically close to King’s novel. It’s an adaptation in the strictest sense. But on Shawshank, Darabont actually IMPROVED King’s novella in every way he attempted. In the book, Red was a white Irish guy, a role someone like Ron Howard might play, but the film has Morgan Freeman, a guy who can make the worst dialogue ever written sound Oscar-worthy. Darabont also embellished the Brooks character, which gave the film a bittersweet center (and motivator for both Red and Andy) that the novella did not. There are other changes as well, and all of them are for the better.

The original DVD was bare bones, but the special edition released in 2004 is pretty wonderful. Frank does a fantastic commentary that covers all bases, and he hardly ever shuts up. The 2nd disc has a trio of retrospective/interview type things that run over 2 hrs combined, artwork and promotional stuff, and even a strange short film parody called Sharktank Redemption. Something that’s NOT on there are the deleted scenes that have been seen on cable every now and then. I guess Darabont hates them, but I wish they were included as an easter egg or something at least; I actually kind of like the scene where Red looks at the new world around him. And if you ever need to feel really depressed, there is no quicker way to do it than to watch the deleted bit where Andy finds the corpse of Brooks’ poor bird trapped in the barbed wire.

Because I am a sucker for the words “limited edition”, I actually bought the deluxe release, which included the score that I already owned and a book that covers the same stuff that’s on the DVD. And it came in a box that I threw away. Worth the extra 20 bucks? Absolutely.

I have never spoken to a single person who disliked this film. There are some who are “sick of it”, sure, but never once have I heard someone say “it sucks” or whatever. And I hope I never do.

(That is not a request for a contrarian person).

What say you?


PLEASE, GO ON...

Dance Of The Dead (2008)

OCTOBER 13, 2008

GENRE: COMEDIC, ZOMBIE
SOURCE: THEATRICAL (SCREAMFEST)

Had I never seen Boy Eats Girl, Shaun Of The Dead, and/or Automaton Transfusion, I’d probably be singing the praises of Dance Of The Dead to anyone who would listen. It’s a fun film, with great zombie effects, a breakneck pace, and some engaging characters, but throughout the film I couldn’t help but feel like I had seen it all before; albeit not necessarily better or worse. Apparently the script was written ten years ago, so I can cut them some slack, but still: update the draft, maybe?

Like those other films (except Shaun), our heroes are high school kids, which makes me wish I had this movie 10-12 years ago (which is probably why I respond so favorably to Shaun – he’s a late 20s guy who wants to sit around and play video games), and despite being all unknown, they are all great in their respective roles. Chandler Darby in particular is fantastic. His character arc is slightly less generic than that of Jared Kusnitz (the actual lead), and he also delivers my favorite line in the film (I wont spoil the joke, but the out of context punchline is “I didn’t think of it like that.”). He also gets paired with the film’s cutest girl, so he wins on all fronts.

The zombie makeup and effects work is also pretty great. It’s not as gory as some other recent zombie films, but it delivers when necessary. It also has one of the best “rise from the graves” scenes in recent memory; rather than slowly crawl up, they sort of catapult out of their graves and hit the ground running. That it’s all presented in a massive tracking shot is all the more impressive; this clearly was not a film with a huge budget, and to see such a great setpiece delivered with hardly any CG is highly laudable.

However, there is one thing about this scene that bugged me – why do all the zombies resurrect at the same time? Early on, during the day, we see the gravekeeper collecting assorted body parts, so it’s obvious that whatever is causing them to return to life is already in place, but they apparently all wait until night, when our heroes have all converged nearby. It’s a goofy movie, and thus you gotta suspend disbelief and all that, but this was still distracting to me.

Not sure when they filmed this, but I would guess it was at LEAST later than Shaun, so I wish they had done something a little different than the same sort of “slacker guy learns to stand up and do something with his life via killing zombies” scenario, and maybe were a little more selective with the dumb humor (“I don’t know how to fire a machete!” – worst line in zomcom history), but you can’t deny the film’s energy. It’s a shame that it’s going DTV; it’s definitely a crowd pleasing film that will benefit from a large group of folks laughing and cheering. Rent it with friends!

What say you?


PLEASE, GO ON...

The Disappeared (2008)

OCTOBER 13, 2008

GENRE: THRILLER
SOURCE: THEATRICAL (SCREAMFEST)

You never want to be the guy in the crowd during a Q&A who asks a question based on his interpretation of the film, and turns out to have misinterpreted the thing, but that was me yesterday at The Disappeared. Luckily, two things saved me from total embarrassment. One was that the director said I wasn’t the first to come to the conclusion I had asked about (actually I never “asked” anything, he told me I was wrong before I got to the actual question). The other spoils the movie, so stop reading since it’s not out yet and thus you probably haven’t seen it.

The second thing is that who the FUCK doesn’t think “the guy’s a vampire!” when he leaves two bite marks on a person’s neck, has a big tombstone outside his office for a guy named “Alucard”, and has obvious ties to vampire mythology (he works in a cemetery, has upside down crosses on his door, etc). Director Johnny Kevorkian said he deliberately left it open to interpretation (so I guess I’m not “wrong”, despite how he reacted), but there were no other noticeable “clues” to go on. As my buddy said afterwards, maybe there was also some blatant werewolf or zombie imagery that we somehow missed. But whatever, I’m sticking with the vampire angle.

Especially since that’s part of why I liked the movie, despite the fact that its very slow and has the absolute worst “twist” reveal I’ve ever seen. Throughout the movie, the main guy is talking to a girl who lives next door. She turns out to be a ghost, and that’s, you know, whatever, but then he pulls out a newsclipping about his kidnapped brother (the movie is about his search for the kid) and sees, right below it, an article about how that very girl killed herself. Come on! You never bothered looking at the rest of the goddamn piece of paper you carry around with you? I half expected him to flip the paper over and see some other headlines that may have been useful to read. “Gravekeeper Ballan Is A Vampire”, for example.

Still though, I liked the moody atmosphere and rather depressing account of what this kid is going through. He blames himself for the kid’s disappearance (as does his father), and while the supernatural elements are not particularly well handled, Kevorkian does a fine job of keeping you interested even when not much is happening. Harry Treadaway is quite good in the lead: a nice find (he’s also in City of Ember I guess) and very believable actor. I also enjoyed Greg Wise’s performance as his father. He’s sort of playing the Marshall Bell role in Stand By Me (“It should have been you Gordo!”), which is a tough role to play since he’s not necessarily a bad guy but at the same time he’s making our hero miserable. The acting across the board is above average.

I also like how it was shot. It’s filmed entirely in London, but not the London you usually see. It’s a very working class, blue-collar type of area, and the cinematography is very cold and bleak as well. Diego Rodriguez is definitely a talent to keep an eye on, and hopefully will find his way into more mainstream work. It’s becoming increasingly rare to see a film in which the cinematography leaves any sort of impression on me, so when it does, I almost want to go out and see the DPs other films based on his name alone.

Another small detail I appreciated was the relative lack of timelessness. The date on a tombstone and a brief appearance of a cell phone aside, the movie could take place anytime of the past 20-25 years; all tapes are analog, people use VCRs, etc. There are no “real world” elements to date the film such as a news report about president Bush or references to pop culture either. I see a lot of movies that are very much of their time, but this is not one of them. I can’t think of any recent film that Kevorkian may have watched and said “I should do that!” before making this film, the way I do with other films (including a couple in this very festival, such as Gates of Hell). Had the ending not been so maddeningly obtuse (and left wide open for a sequel, to the extent where it almost feels like the movie is missing a final reel) and that dumbass twist not presented so clumsily, this would be one of the festival’s best films. Instead it’s merely good, but with the promise of better things to come from the talent involved.

What say you?

PLEASE, GO ON...

October Extras 2: Perfect Stranger (2007)

OCTOBER 13, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (OWN COLLECTION)
LAST SEEN: SEPTEMBER 2006 (TEST SCREENING)

When I was “talkbacking” with Bruce Willis on AICN (hey, should I begin a column called Aint It Cool News on HMAD? Seems fair, no?), I asked him what he thought about Perfect Stranger, because I considered it the worst movie he’d ever done. He admitted that it didn’t work, which is putting it lightly. Still, can’t blame him for wanting to do the movie. “Bruce, you’ll play a billionaire playboy who gets to fool around with Tamara Feldman and Halle Berry.” He probably didn’t even read the script.

The script was also discussed on AICN, when I reviewed the film as a “spy” and pointed out that it was the worst thriller since Taking Lives. Suddenly, the writer’s “friend” came on the talkback and explained how both scripts were heavily rewritten; the original drafts were rich with character, etc. I wish I had friends to defend my shit like that. And I will give him the benefit of the doubt; there are two writers credited. But still – there’s no way that even the basic idea behind this movie could ever be more interesting than a Lifetime thriller.

Part of the problem is that the film seems to be a relic from 1994. We have a slimy businessman, a woman snooping around, lots of sex (tame as it may be)... it comes off as someone trying to cash in on the success of Basic Instinct... 15 years later.

Another issue is that it’s not thrilling. The most exciting scene in the movie is the umpteenth “someone is snooping on someone else’s computer and gets caught” sequence from these movies. Otherwise, there is absolutely zero sense of danger or excitement. It’s just a bunch of boring shit; people chatting on IM, people looking at cyber-paintings, Willis drinking martinis and being “smooth”, Giovanni Ribisi being the most annoying computer nerd character ever seen in a film (I’d rather deal with 2 hours of Chuck’s friend on Chuck), etc. There's only one scene of violence in the entire film, and that's Willis messing up a guy's office.

Oh and that computer scene? It ends with Berry claiming she was actually just trying to give Bruce a list of 17 bars that make a particular drink he enjoys. It’s fucking stupid enough as it is, but she actually has the list! And he buys it! Oh for the love of Christ.

The WORST thing about the movie, however, is the insanely retarded ending. We discover that Berry is the killer that Berry has been tracking throughout the movie. This means that almost none of her scenes really make any goddamn sense, because she’s afraid of Willis (or Ribisi) because she suspects they might be the killer. Worse than that, however, is that they had three endings, each with a different killer. So who the fuck knows what the point of this movie was in the first place? The identity of the killer is pretty much up to chance (or test audience reaction) rather than the logical result of a story. Fuck you, everyone who worked on this script.

The only extra on the DVD is an EPK that actually spoils some of the movie’s ending. I assume no one except die hard fans of this fim would watch it. So no one’s ever probably watched it. There is also a promo for Blu-Ray, but damned if I was going to spend the extra dough to watch this crap in 1080p.

Willis is my hero; and I’ll watch him in anything. I defend movies that even he dismisses (such as Striking Distance). But this one? The only reason I own it is because I own all of his movies. If he ever came over, I don’t want him to see I don’t have Perfect Stranger and get insulted.

What say you?


PLEASE, GO ON...

The Gates Of Hell (2008)

OCTOBER 12, 2008

GENRE: SLASHER
SOURCE: THEATRICAL (SCREAMFEST)

Isn’t there any sort of law, especially in this day of remakes, against titling your horror movie with the same name as another, well known and beloved horror movie? The Gates Of Hell is NOT a remake of Lucio Fulci’s classic, and in fact isn’t even a zombie movie. Hey everyone, I’m writing a movie about cannibalistic ghosts in the snowy landscapes of Minnesota. It’s called Nightmare On Elm St.

Anyway, instead of zombies, our villain is a mutant freak from the Victor Crowley/Antropophagus school of terror, and our heroes are, *sigh*, a group of eager filmmakers looking to make a documentary about the scary shenanigans that supposedly occurred in creepy Victorian mansion in the middle of nowhere #457974. And of course, the director wants to ensure his “cast” gets scared enough to sell the film, so he hires a buddy to put on a rubber mask and fuck with them. But hilariously, the guy never even gets around to that, he’s pretty much the first to die.

To its credit, the movie doesn’t waste too much time getting going, we have a body count of five before the 60 minute mark. But director Kelly Dolen and co-writer Justin Dix might go TOO fast, as there are only 6 in the group, so the final half hour is a snoozefest, because there’s only one guy left, and if he’s dead, the rest of the movie would be kind of sans, er, things. Not sure why he chose to structure it this way, but it’s a bit odd. A pretty nice twist is thrown in for good measure, and that helps a bit, but it’s still a script that needed some spreading out.

And no one cares about slasher victims being original, but can PLEASE give the “horror movie filmmakers” idea a rest? Not only am I sick of seeing kids with cameras (thank CHRIST this isn’t a found footage movie; in fact I don’t think more than one minute of the film is shown from a consumer camera’s POV), but it also leads to terribly outdated Scream style humor. When a trapdoor is discovered, someone mentions that it’s like Evil Dead, and the response is “We’re not in a horror movie.” Christ. I almost threw my popcorn at the screen (but I was hungry so I didn’t).

Needless to say, once they start dying, the meta-humor is dropped entirely, and some minor black humor takes its place. There’s a terrific bit where a guy is chained up on the fence that they need to get through in order to escape, and one of them has to reach INTO the hole in the guy’s torso to pull the lock out from behind his corpse. Awesome. Also, I like that they need to drive their truck through the fence, they fail. The car gets totaled; the fence stays intact. Hahaha, suckers.

The highlight of the screening actually came during the post screening Q&A, when some guy in the audience had the balls to ask Dolen if it was intentional that the characters were so stupid. He also wondered if the film was “supposed to be cheesy”. Now, I’m all for having a pair and being honest, but I actually think this was kind of inappropriate. Dolen is obviously from another country, and flew in to see the film with an audience and take time to answer questions. No one forced him to do that (he was the only feature director all day to be in the audience), and I guarantee he wasn’t being paid either, so I think folks should have a little more tact. If you don’t like the movie, fine, but don’t try to embarrass the guy when he’s taking time out of his life to talk to you. There is a time (later) and place (the Internet) for that type of thing!

What say you?

PLEASE, GO ON...

Acolytes (2008)

OCTOBER 12, 2008

GENRE: SERIAL KILLER, THRILLER
SOURCE: THEATRICAL (SCREAMFEST)

Fuck twists. Really, fuck em. Take em out behind the grade school and get them pregnant. Because honestly, if not for a 3rd act full of revelations and confusingly presented double crosses, Acolytes would be a pretty great movie. But writers Shane Krause and Shayne Armstrong are so content on being part of the “ooooooooooohhhhhhhhh SHIT!” club of big reveal movies, their once promising narrative eventually becomes another generic thriller.

Like It’s A Wonderful Life, this is a movie that will be described by what occurs in its 3rd act. All plot descriptions I have read claim that the film is about some kids who blackmail a serial killer into killing the bully who abused them when they were younger, but that doesn’t happen until an hour into the film. But to be fair, it would be difficult to describe the movie any other way. The first half hour is just about our trio hanging out, seeing someone bury something in the woods, and looking to figure out who the guy was. Then the next half hour is about how they try to avoid this local delinquent who, we discover, raped our two (male) leads when they were children. Then the blackmail stuff comes in, and before that portion of the plot really gets going, suddenly everyone’s switching sides and folks are dying and retarded girls are being run over in flashbacks...

Director Jon Hewitt has a great eye, and some of the film’s more subtle moments really impressed me. Like early on, when our three heroes are heading off into the woods to uncover what they saw get buried. One kid, the one with the cool hair and the girl, begins dragging his shovel on the ground, and the girl laughs. Very quickly, the sad and emo other kid begins doing the same thing. You think it’s just him trying to be cool, but then when you discover their horrific past, it takes on new meaning; he’s jealous that the other guy turned out OK, while he is introverted and clearly disturbed. It reminded me a bit of Mysterious Skin (a film I was actually discussing with someone prior to watching the movie, oddly enough), which depicted the entirely different ways that two sexually molested boys dealt with their shared abuse.

Another thing I enjoyed was the soundtrack, full of Australian pop rock. And it wasn’t just tossed in; a lot of it was actually “in” the movie, such as when the girl of the group passes time by fiddling with her ipod. It’s actually a small bit of character development; she can’t decide on a song, just like she can’t decide which of the two guys she should be with. Not Shakespeare, but a hell of a lot better than tossing “Sugar, We’re Going Down” in for no goddamn reason.

But man, that last act. There’s a part that makes absolutely no sense at all (the kids jump in the bully’s car willingly, then he drives them out to where the serial killer is, at which point he tells them to run. Then he runs after them trying to kill them?), a new revelation about the emo kid that seems rather unnecessary in the grand scheme of things, and also the serial killer isn’t even the killer. Come on. One’s enough.

But to their credit, the movie never really drags, and by keeping all of the characters in the grey area of morality, you’re never quite sure who to root for, which is always nice. I also liked how the film kept finding ways to smack around the emo kid; it was a great way to sate my own desire to toss an emo kid in front of a car. Hewitt is a talent to watch to be sure, but I hope for his sake his next film doesn’t have a script with ADD.

What say you?

PLEASE, GO ON...

Dante 01 (2008)

OCTOBER 12, 2008

GENRE: ALIEN (?), WEIRD
SOURCE: THEATRICAL (SCREAMFEST)

Whenever a creative duo splits, I am instantly curious as to how well they fare on their own. After making 5 movies in a row for Bruckheimer, Michael Bay went off and did The Island, which had some of his trademark action but was otherwise his first movie that was concerned with plot and character. It failed, so off he went to Transformers, a film that would do Brucky proud. And Bruckheimer hasn’t made a single R rated movie since, focusing instead on family films. Anyway, being a big fan of Delicatessen and City of Lost Children, I was initially kind of bummed that Jean-Pierre Jeunet went off on his own, but with the exception of Alien Resurrection (which isn’t THAT bad, just not up to par), he has proven to be a capable filmmaker (still bummed that Very Long Engagement failed to reach the same level of success as Amelie). However, Marc Caro had been MIA, so when I saw he had made his own film, Dante 01, I was pretty excited.

That excitement was dulled, however, once I got twenty minutes into the film and realized I wasn’t engaged at all by what was on the screen. After another 20 minutes I realized I didn’t UNDERSTAND what exactly was happening, and by the hour mark I was merely just sort of looking at the movie, not even bothering to try to make sense of it.

One problem, perhaps the biggest, is that the entire cast is made up of bald dudes in ugly brown jumpsuits. It’s a dark movie by design (made darker by a poor projection on DVD), so any scene where 3-4 of the guys are running around stabbing each other or whatever is completely incoherent. The only two guys I can single out are Lambert Wilson (in a nearly mute starring role as a Jesus incarnate) and Dominique Pinon, who as usual is terrific and fun to watch. I’m not sure why Caro would choose the spaceship movie route after seeing what happened to Jeunet on Alien, but I’m glad he convinced Pinon to don the spacesuit and stand in front of greenscreens again (Pinon even has another underwater scene!).

It’s also a movie that lacks any sort of drive. We are told that everyone on the ship is going to die, but from what is beyond me. Something about the ship colliding with a planet or whatever? It’s hard to get really pumped about such a scenario when the film itself doesn’t seem to be too concerned about it. If anything, the movie is like an episode of Aeon Flux, with the same things just happening over and over: Lambert sees an orange squid/alien thing inside someone, he sucks it out, pukes and screams, some bald dudes run around and fight, other bald dudes watching them say things like “it worked!”, and then the whole thing starts all over again. Then all of a sudden the bald observers team up with the bald assholes to send Pinon to his doom, a shuttle explodes, Lambert leaves the ship and has a 2001/Windows screensaver CGI fit, and then Caro tosses in ridiculously unsubtle Jesus imagery before rolling the credits. In short, there was absolutely no narrative structure to anything in the final 30 minutes.

Luckily the movie is at least shot well, and the effects are good. And I can’t help but be somewhat entertained by a movie this baffling. Unfortunately, some of that entertainment stemmed from thinking about better, similar movies, including 2001, Sunshine, Event Horizon, Das Experiment, and also, inexplicably, the PC game Riddick: Escape From Butcher Bay (a prequel game to Chronicles of Riddick, or sequel to Pitch Black, depending on how you prefer your Riddick).

So I dunno, it’s not for me, but certainly some folks dug it (my friend Joe really enjoyed it, which I felt bad about later because I was sitting behind him and probably drove him insane by muttering “WHAT?” every 5 minutes. Sorry Joe!), and I can see it being a minor cult classic among fans of French horror. It would make a hell of a Blu-Ray (since it’s so dark, the improved contrast range Blu offers is practically a necessity), and if it had commentary (or even a shooting script) on it I would be first in line to pick it up at Best Buy (or Amazon!). I have a feeling that it could be like Southland Tales, in which once you accept it for what it is (and what it isn’t) and are provided with some background info that isn’t in the film (apparently their budget was cut in half halfway through production), it would actually be something I enjoy. For now though – life’s too short to be confused for 90 straight minutes. At least Southland has a good soundtrack to make up for it.

What say you?

PLEASE, GO ON...

King Of The Hill (2007)

OCTOBER 12, 2008

GENRE: BREAKDOWN, SURVIVAL
SOURCE: THEATRICAL (SCREAMFEST)

The plot description for King Of The Hill (aka El Rey De La Montaña in its native Spain) made it sound like Trigger Man, so I was happy that it was the first film scheduled for today’s Screamfest (actually the 2nd, but I had already seen Spine Tingler so I skipped it – great doc about William Castle – see it ASAP!). If it was a snoozefest like Trigger Man, I’d have a better chance of staying awake at 2 pm than at 8 or so. And while hardly a great film, it’s better than the other film, and had just enough of the goods to keep it afloat once it became a bit repetitive.

The first 40-50 minutes are the best. We meet our hero (Leonardo Sbaraglia), he fucks an insanely cute girl (María Valverde) in a bathroom (whom he had just met), and then a sniper begins his terrifying attack from atop a mountain. I myself have an irrational fear of snipers, so these early scenes kept me on the edge of my seat, for lack of a more generic term. But then around halfway through, our hero and the girl (also under the sniper’s fire) are arrested and placed in a cop car. The two cops are taken out, and I was like “holy shit, this is gonna be awesome – they’re stuck in the car and the sniper’s got them in his sights!” But director Gonzalo López-Gallego apparently has no patience, and they are free within minutes, and the rest of the movie is more or less a chase sequence around the forest. There are still some great little setpieces (like when one of them is trapped under a rock in plain view of the killer), but it just gets rather repetitive.

What really drags it down though is when the film suddenly switches focus to our killer. The revelation of “who” he is isn’t all that shocking, and spending 10-15 straight minutes with him isn’t all that interesting. It picks up again once the focus returns to our hero (the finale, in and around a small housing development, is pretty suspenseful), but damage has still been done. I really wanted to have a claustrophobic segment to the film, but Gallego is content to have everyone constantly running around. Even the sniper eventually leaves his perch.

Being a Halo fan, I took some enjoyment from how the finale is set up. I don’t want to spoil anything, but let’s just say that if you’ve ever lost on Shotty Snipers to a little kid, you will definitely identify with the film. It also gave me an idea for a new match style on Halo (or any shooter really). It couldn’t be called King of the Hill, because that’s already used (HILL CONTROLLED!) but essentially you’d have one player as the sniper, who is perched high above the rest of the map. Everyone else has no weapons, but if they can get to the “safe zone”, they win. If the sniper kills everyone before anyone reaches the zone, he wins. I think it would be awesome. Fucking hot chick in the bathroom optional.

What say you?

PLEASE, GO ON...

October Extras 2: Dark City (1998)

OCTOBER 12, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (BLU-RAY)
LAST SEEN: 2002? (DVD)

I still remember walking into a convenience store on a Monday morning to grab my morning coffee on the way to school (and the vacant locker next to mine that I filled with those empty cups for some reason), looking at USAToday’s box office report for the previous weekend, and getting super fucking pissed off. That was because Dark City, the incredible film I had watched over the weekend, opened in like 4th or 5th place with barely any money made, and the 2 month old Titanic was still breaking records. Now, I’m not a Titanic hater (I actually considered it for an OE2) but Alex Proyas’ film deserved much better.

Luckily, it found an audience on DVD, and its following continues to grow. As a result, we got a 10th anniversary director’s cut DVD and Blu-Ray, with all the original extras ported over, plus some all new ones. If there’s ever been a double dip that I had zero issue with at all, it was this one. Hell, even the theatrical version is still included, so there’s literally no reason to hang on to the original snapper case release (unless you really loved that lame scavenger hunt game, the only thing they’ve dropped).

The changes in the director’s cut are noticeable right off the bat, as Kiefer Sutherland’s VO over the opening title has been removed. This was an obvious choice for Proyas, as the narration was a studio decision that he (and fans) did not agree with. I almost wish I could see the film for the first time this way, as the narration gives away some answers that Proyas and the writers did not intend you to have until later in the film.

Other changes I’m not too sure about, as it has been 6-7 years since I have seen the film. I kind of like the irony in that; the movie deals with the essence of memory, what is real, what is something you just imagined, etc, and throughout the movie I found myself wondering what I have seen before and what was new. I am PRETTY SURE that the stuff with the hooker’s daughter was new, and also an extension of the cab ride scene between Kiefer, Rufus Sewell, and William Hurt, but I may be wrong (I looked for a comparison online, but turned up nothing).

Speaking of the hooker, she is played by Melissa George, who is now well known among horror fans thanks to Turistas, 30 Days of Night, etc. If you’ve never seen Dark City, this movie offers you.... something that those other movies did not. Hurrah for being a new actress without any contractual limitations!

Both versions of the film are superior to many of the other “alternate reality” films of the era, particularly The Matrix, which outright stole certain camera setups from this film (see here). The murder mystery that screenwriters Lem Dobbs and David Goyer designed is far more compelling than the “I know Kung Fu” nonsense of the Wachowski’s film. And it’s far more exciting than the dull Thirteenth Floor. Plus it’s got the most interesting cast – how often do you see Richard O’Brien in anything anymore? Kiefer turns in one of his best performances, without a single shred of the Jack Bauer badassery that he can’t seem to shed anymore. And besides George, you also get Jennifer Connelly, before she won an Oscar and forgot to eat at least once a day.

The real draw is Rufus Sewell though. No one was really familiar with him at the time, so to cast him as an amnesiac was pure brilliance. You don’t know who he is, and neither does he. And since he’s mostly played villains since (he’s played some sort of royalty who steals the hero’s girl like four fucking times alone), it’s nice to see him in a sympathetic role.

Blu-Ray of course makes some of the effects look a bit faker than before, but that’s OK. The effects are pretty great throughout, but more importantly, they are interesting. The “city changing” bits are breathtaking, and I love how they use them in action scenes, such as when Sewell escapes a bad guy by jumping onto a chimney that is growing out of the ground. Awesome.

The disc is jampacked with features; three commentaries, a full length retrospective documentary, and I think some other stuff too, but I just don’t have the time to get into it right now. Someday I will though, and I will most likely be enthralled by every bit of it (I have listened to the commentaries before, on the theatrical version, and they were great – definitely check out Roger Ebert’s track). But if you’ve never seen the film, PLEASE start with the director’s cut so you can experience the mystery (which I have tried hard not to spoil in the review) as intended.

What say you?


PLEASE, GO ON...

The Burrowers (2008)

OCTOBER 11, 2008

GENRE: MONSTER
SOURCE: THEATRICAL (SCREAMFEST)

If horror movies ever got any sort of respect from the Oscars, JT Petty's The Burrowers would probably be up for a cinematography award. When there are no monsters or dismembered limbs onscreen, it could easily be mistaken for The Assassination of Jesse James or a Terry Malick film. The lush New Mexico landscapes look beautiful, and DP Phil Parmet deserves kudos as well.

Unfortunately, like those aforementioned films, it's pretty damn slow. There are shockingly few monster scenes, and most of them are confined to the film's finale. Not that a slow film is a bad thing, but the concept is pretty awesome (underground monsters that paralyze and bury humans alive, returning to eat them once the body has reached a certain stage of decomposition), so I wanted to see it realized to its full potential. I have no doubts that Burrowers 2 will be an action packed romp, but since Lionsgate is dumping this one (there's a phrase I'm sick of typing out), a sequel isn't looking too likely.

Luckily the cast picks up some of the slack. Burrowers features not one, not two, but THREE Lost vets: William "Ethan" Mapother, Clancy "Inman" Brown, Doug "guy in the Ben episode about Dharma" Hutchison. All three are actors who I enjoy watching on screen (particularly Brown, seen here in a rare good guy role), and while only Mapother has a big role, it's still good to see them all together (their Lost characters have never met... YET). Also on hand is Laura Leighton, an actress I spent many an hour ogling on Melrose Place (the episode where she begins screwing around with her sister's ex husband? HOT), still looking quite good.

I also liked the humor, which was as dry as the landscapes. Mapother in particular gets in a few good lines, which was surprising as he is always playing Stoneface McGees who never even crack a smile, let alone a joke. And even though it's hardly played for laughs, the cynical asshole in me almost cheered at the ending, which is like a big "fuck you" in the tradition of the original Night of the Living Dead. It's a downer, which is possibly part of why LG has no faith in the film, but kudos for going that route.

The monsters also look pretty cool, when we see them. Up until the big ending, you never quite see them in their entirety; you get an eye or a limb or something. They seem to be animatronic for the most part (there's a CGI "circling around the hero" shot but otherwise, if it's CG its the good kind). And like Feast, I like that they don't bother explaining where they came from or anything (nor is there a "let's see what makes these things tick" autopsy scene!).

It's a shame that the cinematography will be seen on a small TV (or worse, a computer screen) by a lot of the eventual audience, but at the same time, I can almost see LG's point on this one. I enjoyed it, but guys like me are not providing the primary income in movie theaters nowadays. If no one showed up for Grindhouse or Doomsday, who would show up for a slow burn of a film with no big stars (in a western setting at that)? At least by going straight to DVD they can eliminate the middleman and get it into the hands of the fans who will enjoy it. I just hope a lot of those fans have big HDTVs with upscaling DVD players.

What say you?

PLEASE, GO ON...

100 Feet (2008)

OCTOBER 11, 2008

GENRE: GHOST
SOURCE: THEATRICAL (SCREAMFEST)

I haven't seen too many of Eric Red's films, either when he's just the writer (Near Dark) or taking directing duties as well (Body Parts), but I feel safe in saying that 100 Feet will be remembered as one of his best. Taking a minimal (and potentially disastrous) storyline - a woman under house arrest being tormented by the ghost of her abusive husband - and maximizing the number of scares and surprising plot elements, his work here should be commended, and seen by the widest audience possible.

First of all, there's fewer ways to ensure an audience stays engaged with what is onscreen than to structure your film in a manner that places Famke Jannsen front and center for nearly every second of the running time. She's always been an interesting actress (has she ever even stooped to a romcom?) and she's as hot now as she was 13 years ago in Goldeneye. On the surface, a movie about a woman confined to her home sounds as visually exciting as watching paint dry, but Red and Famke prove that notion wrong.

And you gotta give props to Michael Paré, playing the ghost of her ex-husband. The ghost design is super creepy (it's sort of J-horror inspired, but with a touch of German expressionism), and while you never really see Paré's face, you can tell it's him, and he is one brutal motherfucker. There's a bit late in the film when he utterly annihilates Famke's new boyfriend, and the blood splatter from the guy forms an image of his person, a la the invisible man effects in Hollow Man or Memoirs Of An Invisible Man. It's one of the best (and most violent) "ghost attack" scenes I've seen in ages.

Again, this could all be ludicrous, but the film is played 100% serious, and it works. There are at least 4 great jump scares in the film, plus one of the all time best "hand in the garbage disposal" scenes. Lots of horror films have this gag, and sometimes it fails to deliver the intended effect (i.e. scaring me out of ever putting my own hand in one again - I'm always losing bottle caps down there!), but this one nails it.

I also like how Red chose to not beat us over the head with some of the details. Early on the ghost begins tossing plates at Famke at breakneck speed. Later on, we see that she has replaced all her kitchenware with plastic or Styrofoam, but we don't have a cutesy scene of her buying bulk Dixie stock. One detail I wish they did explain though was why Famke always stretches to open her front door, as it falls just outside her "100 foot" range. We are told she has 3 minutes before she will get in trouble, and she even leaves the house entirely at one point (timing her 3 minutes), so why she can't just open the door normally and walk the two steps back is a bit puzzling.

Another minor issue is her husband's ex-partner. He starts off the film hating her, assuming she just killed her husband for no reason and not self-defense. But halfway through he's suddenly on her side, however he's now convinced she didn't really kill him, but that someone else did and she is covering for them. Huh? He even admits to finally reading her police reports that the husband's buddies had "lost", so how he came to this alternate conclusion is a bit baffling.

Still, for a ghost movie, two minor issues is way below par. Like I've said before, I don't usually find ghosts/supernatural type things to be particularly scary, but this one works. The occasional humor does its job (levity), and it never drags, which is, again, something you don't expect when you're dealing with something that could almost be done as a stage play. Its theatrical future is uncertain, but if it eventually goes DTV, don't let that fool you: this is a movie that deserves to be seen.

What say you?

PLEASE, GO ON...

October Extras 2: Forgetting Sarah Marshall (2008)

OCTOBER 11, 2008

GENRE: OCTOBER EXTRAS 2
SOURCE: DVD (BLU-RAY)
LAST SEEN: APRIL 2008 (THEATRICAL)

Of all the Apatow movies that Apatow himself did not direct, Forgetting Sarah Marshall is the one that copies his formula the closest. Other films in the Apatow canon are more ridiculous (Anchorman, Walk Hard), or in the case of Superbad or Drillbit Taylor, simply about a younger group of people. But Marshall, like 40 Year Old Virgin or Knocked Up, is about a guy who needs to grow up, and Paul Rudd helps him.

Rudd is, of course, one of the many Apatow regulars who pop up in the film to provide laughs and extend the running time. Many people complain about the length of Virgin or Knocked Up, but they are actually pretty tight in terms of storytelling; there isn’t a lot of superfluous stuff that is there solely for laughs. But that’s not so much the case here; while Rudd, Jonah Hill, and Jack McBrayer’s characters are amusing, they never really advance the plot much, if at all, and while it’s a bit shorter than Knocked, it could be even shorter if they really wanted to be more selective during the editing process. Sure, Hill has one of the film’s most quotable lines (“I just went from six to midnight”), but really, would his character be missed if removed entirely? Peter would still fall for Mila Kunis’ character, Sarah Marshall would still move on with her career, and Russell Brand would still steal the movie away from his better known co-stars.

This is the 3rd time I’ve watched the film, and like most comedies, a lot of the things that made me laugh hysterically the first time around no longer have much effect on me (even the scene where Pulse is torn apart, a joke that literally made me fall out of my chair the first time I saw it, only elicited a smirk this time around). But not Brand’s Aldous Snow. His work continues to impress and amuse, and I would hate to think that the bit where he spills wine on the ugly shirt that Sarah made him wear would ever fail to make me laugh. Also, he seemingly comments on the movie’s plot for the audience at times; “We’re doing this... this is actually... happening,” he mutters as the movie begins its inevitable “let’s have the mismatched couples have an awkward double date” scene. The only disappointment in the cast is Bill Hader, who I love on SNL but doesn’t get a single real laugh here, and again, his scenes only really advance the running time (the early ones are OK, but the Ichat stuff is worthless).

One character that I am sure would make me laugh is the beautiful and hilarious Kristen Wiig, who plays a yoga instructor. I saw the film at a test screening and in its final cut, and neither version had her character. I found this odd, as the shooting of her scene was what was occurring when press was flown in for set visits, and Rudd, Hill, and others who weren’t in the scene came by just to watch her genius at work. So I was all excited to rent the “unrated” version as her scene was put back into the movie. But nope. Apparently the Blu-Ray “unrated” version just has the theatrical cut (best I could tell anyway). Maybe both are on there, but if so the theatrical version is not mentioned on the box art, and I saw no way of accessing any other version. And I don’t have the time or the inclination to watch it a 4th time just to see her scenes and the other stuff that was put back in, so I am kind of bummed. Stupid Blu-Ray!

What I like about the movie is how relatable it is. None of the characters are perfect, and a lot of the things they bicker about ring true. I also like how they quickly fill in character development via montages. Like when Aldous complains about the shirt, Sarah remembers how Peter would always wear the god awful shit she would buy for him. Sarah realizes two important things (that Peter is a caring guy, and that she is hardly perfect) in about 10 seconds, and we get a couple of laughs out of the deal. Like The Break Up, in order for the film to work, you have to understand that these two really cared about each other at one point, but you can’t spend too much time of them together when the movie is actually about their split.

I also love the Dracula musical stuff. A lot of people have commented that his songs sound like Meat Loaf (they mean Jim Steinman, but I’ve simply accepted this ignorance), and they are “right”. I would pay handsomely for a full version of the show, if only to hear "Dracula’s Lament" (“blood will run down his face, when he is de-cap-i-tated! AH HAH HA HA!”) with the puppets/set accompanying it, instead of Jason Segel at a keyboard in a Tiki bar. I also love Peter’s odd little bit about seeing a psychiatrist (not on the soundtrack, which pissed me off). The DVD has a karaoke version of all the original songs in the film, so I guess it evens out.

And that’s just one of the numerous extras on the disc, and even better: many of them are actually funny. A lot of them focus on Russell Brand, which is fine by me. His entire “We’ve Got To Do Something” video is included, as is a truly hilarious and strange bit where he appears on Sesame Street to discuss the letter U. Then there about a half hours’ worth of alternate adlib takes from throughout the movie, plus a commentary, cast auditions, other deleted scenes... it would take four hours to go through the entire extras package, so I didn’t get to it all. What I saw was mostly worth watching though, so that’s good.

It may lack the finesse of the Apatow directed films, but it’s still a worthy addition to his ever expanding empire. Even if I’m no longer laughing at the jokes, I still enjoy watching the movie, and for a cast without a single big star (all of them known for ensemble/TV work), I’m happy it found a big audience in the middle of a seeming Apatow backlash. Kudos.

What say you?

PLEASE, GO ON...

Trick 'R Treat (2008)

OCTOBER 10, 2008

GENRE: ANTHOLOGY, COMEDIC
SOURCE: THEATRICAL (SCREAMFEST)

2008 will probably be forever known as the year that horror got fucked. First Midnight Meat Train was buried by its distributor (that would be Lionsgate), given a blink and you'll miss it release on 100 2nd rate screens throughout the country. Then the Gate decided to do even LESS of a release for