Showing posts with label Vampires. Show all posts
Showing posts with label Vampires. Show all posts

Thursday, April 18, 2013

The Brain and the Body

I've seen two horror films in the last week or so. As I like to describe them, one is of the brain and the other is of the body. One traces the gradual decline of a single individual as he gets deeper and deeper into a situation he can't escape, while the other revels in more traditional horror tropes like gore and the undead. Both are impeccable crafted endeavours that never once feel like anything on screen was unintentioned. Of course, whether they differ is a gulf so wide that chalk and cheese would baulk.

Simon Killer comes from the production house that brought us the stunning directorial debut of Sean Durkin, Martha Marcy May Marlene in 2011. Director and co-writer Antonio Campos' unnerving, is dramatically too cool for school in many ways, Simon Killer is certainly not the film that I had expected given the rather dark title and creepy (and excellent) poster. Much more than a backpacker Parisian Psycho, it follows a young American tourist in Paris as he digs holes so deep he can't get out. First by pretending to be the recipient of a beating in order to stay at the home of an affectionate prostitute, and then by struggling to keep the darkness within him covered up.

The film's co-writer (I presume there was quite a bit of improvisation in that regard) is star Brady Corbet, one of the most interesting actors working today alone based on the list of directors he's worked with. His filmography isn't extensive, but considering he's worked with Gregg Araki (Mysterious Skin), Michael Haneke (Funny Games US), and Lars Von Trier (Melancholia) as well as the aforementioned Sean Durkin on Martha Marcy. He obviously fostered a good working relationship with the team and is now a creative force behind Simon Killer.

Make no mistake, this is purely a horror film in broad psychological terms. There's no blood and not even any thrills despite working within a thriller template. The horror of the piece is in Corbet's performance. He is so good in the role as Simon, mentally unstable and unable to contain it. With him working at such a great level, it's a shame the film didn't pick up to meet him. It's not that the film's first half doesn't work, it's just that characters routinely do things that show such poor judgement. It's hard to be reeled in. Towards the end, however, Campos appears to elevate the material thanks to more abrasive editing and a more hurried pace. Gold stars also for the use of Spectral Display's "It Takes a Muscle to Fall in Love" to such unique and unsettling effect. B-

What the psycho-chills of Simon Killer lacks in the blood and gore department are more than made up for with Xan Cassavetes' Kiss of the Damned. A film that's as super lush and stylish as it is super ridiculous and, at times, over-the-top. One could almost call it a campire tale given its propensity to be flashy and abundantly into its own colourful aesthetic. The film, Cassavetes' debut feature after her 2004 documentary Z Channel:A Magnificent Obsession, frequently looks like Sofia Coppola directing a Florence + The Machine video (and, surely not coincidentally, Coppola's name appears in the end credit thank yous) with some impeccably rich costume and production design. Shame the actors drown in them, which can make for a slower second act.


I think Jason at My New Plaid Pants put it best: "there's a lot of talk in Kiss of the Damned about the magnetic force of Milo [Ventimiglia]'s presence, and you kinda wanna laugh every time it's spoken of." Vampires are, after all, meant to be compelling creatures and lure with lust, but while Milo - as well as the parade of women that surround him all throughout the film - is a very good looking man (that beard is working all sorts of wonders for him) he doesn't exactly command the screen. The women, too, are mostly airy beings that float about through scenes, although if that was Cassavetes' intentions then at least she cast well and got actors that have some truly captivating voices.

Where the film really succeeds is is the sound work. May sound like a strange observation, but it's true. The sound work in Kiss of the Damned is phenomenal and seeing it in the theatre certainly packed a punch that home entertainment would otherwise lack. The abrupt switches in music styles mixed with copious screams, canny dialogue dubbing, and high-pitched sound effects, not to mention the deep bass that appears to be a constant within the sound mix. The work here is a genuine wonder and was one of the reasons that I remained so focused and alert during the somewhat less exciting (if more gruesome) second half. I found Kiss of the Damned to be a much more intoxicating experiment than, say, Amer, which I think some may compare it to thanks to their pastiche patterns. B

Both Simon Killer and Kiss of the Damned are available on demand in America. Simon is also in limited release now, Damned will be in cinemas from May.

Monday, November 5, 2012

31 Horrors: Vampyr (#20)

Wherein I attempt to watch 31 horror films over the course of October. 31 horror films that I have never seen before, from obscure to acclaimed classics. We'll see how well I go in actually finding the time to watch and then write about them in some way.

Well, it's easy to see why this has been deemed as so influential, isn't it? Per the Eureka! Masters of Cinema DVD sleeve, Carl Theodore Dreyer's Vampyr was deemed by Alfred Hitchcock as "the only film worth watching... twice", Vampyr is seemingly a very obvious inspiration to Psycho. Vampyr, also the inspiration to Olivier Assayas' Irma Vep in a far more obvious way, is about a man who leaves his life and descends into a fantasy horror upon arriving a motel in the middle of nowhere. What is Janet Leigh's Marion Crane is not a fantastical being on the run? Where does she end? A middle of nowhere motel. While Marion met a far crueller fate than Nicolas de Gunzburg's Allan Gray (the film's unofficial subtitle is The Strange Adventure of Allan Gray), Vampyr too descends into a mystery-solving horror ala Psycho, just with vampires instead of mummy-dressing psychotics. The similarities don't quite end there, however, as Hitchcock appears to have aped several slices of striking imagery too.

Vampyr is the first sound feature that Dreyer ever made, coming on the heels of The Passion of Joan of Arc. Having said that, Dreyer has stuck to a silent aesthetic for the most part and there is minimal dialogue as a result of the producer's wish to record the film in both French and Germany languages. Title cards are frequently used and many of the actors - unprofessional actors for the most part I've since discovered - work more in sinister glances than horrific speeches. Dreyer, too, uses static imagery more than the theatrical horrors of his international brethren. Vampyr's release was actually delayed in Germany so that Dracula and Frankenstein could be released first, certainly one of the earliest sign posts of the international film world working with a domino effect.


At only 72 minutes, Vampyr doesn't exactly dig deep into the vamp mythology, but it does manage to craft an excessively eerie atmosphere. As Allan Gray attempts to solve and break the vampire curse that has swept across his village without succumbing to it himself, Dreyer infuses it with enough images of wrinkled, doom-ravaged faces and sickle-wielding townsfolk to power several films. It's holds an incredible power, a spell if you will, that doesn't break until it's over. A bewitching and altogether stunning piece of brilliantly crafted cinema. A-

Monday, October 29, 2012

31 Horrors: Mad Monster Party (#17)

Wherein I attempt to watch 31 horror films over the course of October. 31 horror films that I have never seen before, from obscure to acclaimed classics. We'll see how well I go in actually finding the time to watch and then write about them in some way.

Another horror spoof after the earlier Student Bodies. Inarguably more original and inventive, I didn't however find it anywhere near as entertaining. Taking on monster movies rather than slashers, Jules Bass' stop-motion animated film was the American's first animated feature since he co-produced the wildly successful Rudolph the Red-Nosed Reindeer. The style is most definitely the same, and I give him props for making something a little bit left of centre for a G-rated animation, but I'm not sure how successful it ultimately is.

There's Dr Frankenstein (voiced by Boris Karloff!) who lives on Evil Island, and he's invited all the world's most famous monsters (Count Dracula, the Wolfman, the Creature from the Black Lagoon and so on) to his castle to announce his retirement as well as his successor. That turns out to be a meek drug store employee who sounds a lot like James Stewart with the whispy appearance of Niles Crane. Throw in all sorts of other references - including a copyright skirting beast named "It" and looks and sounds and acts identically to King Kong, plus a reference to Some Like It Hot (because, well, ya know... why not?) and you've got yourself Mad Monster Party. Oh, did I mention Phyllis Diller? Because there's Phyllis Diller doing her best kid-friendly version of her routine, her plasticine figure laughing at every one of her groan-inducing one-liners.


I didn't particularly like Mad Monster Party. I found it all a tad too flat for my liking. I imagine Tim Burton is a very big fan since he's tread into similar waters with his own wacky family friendly work on Frankenweenie and The Nightmare Before Christmas. Unlike those features, however, Mad Monster Party certainly has the feel of a TV movie. Unsophisticated humour for the most part - oh gawd, it reminded me of "Oy to the World"! - with only a few really great laughs hidden amongst the madcap musical adventure. I would recommend it most of all as a perfect movie to play in the background of your next Halloween gathering. It's an idea movie to be able to catch brief glimpses of without really having to pay all that much attention. And that you you also get to avoid the songs.


Songs like that one. It's all a bit nauseating, really. A DRACULA TAP ROUTINE! Of course, if I had seen this when I was younger then maybe I'd be crowing a different tune, but it doesn't hold much value as an adult when viewing it without the rose-coloured glasses of nostalgia. It's rather innocent demeanor really could have been played with a bit more of a wink and a nudge. Baby's first horror movie, if you will, but hopefully not the last. C

Tuesday, October 9, 2012

31 Horrors: Waxwork (#6)

Wherein I attempt to watch 31 horror films over the course of October. 31 horror films that I have never seen before, from obscure to acclaimed classics. We'll see how well I go in actually finding the time to watch and then write about them in some way.

Well, I guess it's horror?

Actually, "horror" is probably about third down the list of genres that this odd concoction could be placed in. I'd probably describe Anthony Hickox's 1988 film as a fantasy comedy before horror, but its reputation is quite strong and I'd always wanted to see it so I did and I'm not above saying is something horror for the purposes of October when it really, kinda isn't. That I didn't particularly enjoy it is another thing altogether, but I'm probably not going to bother with the second, Waxwork II: Lost in Time. At least not in October, anyway. Unless someone can give a good reason to do so? CAN YOU? Probably not, yeah?

Obviously riffing off of André de Toth's 1953 shlocker, House of Wax with Vincent Price, Hickox's Waxwork is a bizarre film that takes a more comical look at a mad wax sculptor's efforts to complete his macabre works. Filmed with garish, bright colours and with repeated use of the hideous "fish eye" lens (remember The King's Speech?), Waxwork has a unique look coming at it today, but I feel like this was definitely a style at the time. Am I wrong in remembering Peter Jackson's early horror work had the same same easthetic? As the core cast of teenagers find themselves in scary ("scary") situations involving famous horror identities (Count Dracula, the Wolfman, the Marquis de Sade, Romero zombies, the Mummy, and so on) it takes on the attitude of a somewhat self-referential film like Wes Craven's New Nightmare, but filtered through grand guignol bombastics.


I didn't find its sense of humour particularly funny, I must say. With its oddball personality placed very firmly left of centre, I think it takes a particular mood to get into it. I found the obvious low budget particularly distracting, which is disappointing. I hate discouraging filmmakers with limited resources from going out there and attempting stuff that is as boldly inventive with story and narrative as Hickox was with this, but I just don't think he was able to pull it off. The obvious use of model sets, human actors whose breathing is clearly visible, and some less than convincing make-up effects only served to pull me out of the experience that he so clearly had the faith in. And that's before the acting! The effort is certainly there with a number of the set-pieces - although an Egyptian Mummy sequence feels a bit like a piss-weak afterthought - but without the resources to truly pull it off at the level that they really needed. Its intentional hokeyness - at least what I saw as intentional - was off-putting, too, and I routinely find this device used in low budget fare as a way of nudging and winking its way out of a corner. No such luck.

Still, I did find myself occasionally being pulled in. I particularly liked the Dracula sequence featuring Michelle Johnson and Miles O'Keeffe, and when the film sticks to wide shots it impresses on a visual level. The initial wax set-ups are really quite novel. I got a kick out of the anachronistic use of Lesley Gore's "It's My Party" over the end credits, and any film that includes cast members from Gremlins (Zach Galligan), Valley Girl (Deborah Foreman), Twin Peaks (Dana Ashbrook), and The Lord of the Rings (John Rhys-Davis) will always have at least some eye-popping retroactive niche value to it. As a pre-date to a lot of the films that seem to get people in a twist today (anything that remotely winks at audiences with references they can easily "get" and feel proud about; playing with alternate ideas of reality) it's of interest, but it sadly doesn't really work outside of that. C

I will say this though. Whoever did the casting on this movie did a great job. Apart from the aforementioned Galligan, Foreman, Ashbrook and Johnson, there's fun supporting work by Michu Meszaros (the man inside the ALF costume!), David Warner, Jack David Walker, and some really fine casting for Dracula. If you're casting a sexually provocative figure and famed seducer for a youth-leaning horror film then you may as well go sexy and matinee, yeah? Miles O'Keeffe as Dracula is, shall we put it, a quite attractive specimen. He was essentially Angel before David Boreanaz was ever on the scene.


Yes please, I'll take two!




...

Hmmm... maybe just one.

(photos nabbed via 'Male Vamps' blog, naturally.)

Monday, February 14, 2011

Scream to Scream, Scene by Scene: SCENE 9 of Scream 2 (0:28:51-0:34:41)

In this project I attempt to review the entire Scream trilogy scene by scene in chronological order. Heavy spoilers and gore throughout!



SCENE 9 of Scream 2
Length: 5mins 50secs
Primary Characters: Cici Cooper, Ghostface and Dawnie (Marisol Nichols)
Pop Culture References:
  • Party of Five (Cici watches it on TV)
  • Nosferatu (Cici watches it on TV)
  • Buffy the Vampire Slayer (By extension of Nosferatu as Sarah Michelle Gellar plays the titular "vampire slayer")
  • Friday the 13th (Cici's friend jokes with the Ft13th theme music)


And so we come to the first post-opening death scene and the first major diversion from the original Scream. I actually love this sequence and it remains one of my absolute favourite scenes of the whole trilogy. There's something so simple and unabashed about it. It has plenty of film references and it plays with what we've learnt before (Cici runs up the stairs when she should be running out the front door), but it's just a good ol' fashioned taunt and chase slasher scene.

The fact that is features Buffy herself probably helps.


"I love those guys. Are they still together? I haven't seen it in, like, three weeks."
"No, they broke up again."
"Really?"
"Mmhmmm, Sarah found out that Bailey slept with Gwen. She dumped him, like, two episodes ago."
"I wish she'd get her shit together."

My memory of Party of Five isn't that strong - I wasn't much of a fan, but I watched it a bit because my brother was a fan. Tuesday nights on Network 10 if I remember correctly - but Bailey and Sarah are definitely characters, but IMDb is not showing me who Gwen was so maybe I've been wrong in assuming Cici is discussing that show.

However, the links to that show are both obvious (Neve Campbell) and less so (Jennifer Love Hewitt starred in the "rival" slasher film I Know What You Did Last Summer with Sarah Michelle Gellar). And, furthermore, Jamie Kennedy who plays Randy would go on to feature on TV series The Ghost Whisperer with Jennifer Love Hewitt. I think they were even engaged at some point, yeah? And while it's not a Party of Five reference, the voice on the phone is Selma Blair who would go on to co-star with Gellar - and earn and MTV Best Kiss award! - in Cruel Intentions.


"Who are you calling for?"
"What if I said you?"
"What id I said goodbye?"
"Why would you wanna do that?"
"Why do you always answer a question with a question?"
"I'm inquisitive."

Teehee. Doesn't this just kinda ring like Buffy the Vampire Slayer dialogue? I've always felt it does.


"Do you want to die tonight, Cici?"

Love this moment! What with the big, bombastic music in the background (is that Marco Beltrami's music or is it taken from Nosferatu, because either way it's great.) One thing I've noticed is that the voice is much more placid in Scream 2. The voice is generally used less here than in the original, but where there was obvious anger in the voice during the Casey death scene and Sidney attack scene, the voice is never angry in Scream 2. Maybe Mrs Loomis is zen? Perhaps that's why she becomes so bug-eyed crazy in the big showdown at film's end?


We don't get an explanation for the noises Cici hears, do we? Or are we meant to assume it's Dawnie who makes her way downstairs whilst Cici is outside talking to campus security on the phone?


Gosh, remember when landline phones would crackle when you walked outside? Although not even my old home phone was as bad as this one appears to be. Silly Omega Beta House, choosing a residence with really poor reception if just a recipe for disaster!


Several reasons to love this moment.

1. It continues the entire franchise's close attention to framing. As with scenes in Casey Becker's and Stu Macher's house, as well as the Randy scene coming up soon and the Woodsboro set sequences of Scream 3, Craven and his team have a real knack for pushing the edges of the frame with stuff that keeps our eyes darting around.

2. Dawnie!

3. Thinking about Ghostface. The general theory goes that Mrs Loomis is outside with the video camera (the footage is seen later in the media class room with Gale and Dewey) and the telephone as Mickey waits for a way to get inside. Since Ghostface entering has no phone there's your proof that there were two killers. I love the look on Cici's face, too, as the phone rings and she's terrified. If only she'd picked the phone up instead of Dawnie, who knows what would have happened to her?


"You wish it was Ted. 'Don't forget to set the alarm'!"

I love that line reading; so taunting and evil. Having just said that it's Mrs Loomis outside on the phone, that voice really doesn't sound like it. The reveal sequence of Scream showed that not even Billy or Stu truly sounded like "Ghostface" as we hear him in his telephone calls, and when Sidney speaks through the voice altering device as she hides in the closet she doesn't sound anything close to the actual voice of Roger Jackson, so... hmm... look, let's just acknowledge it as "movie magic" and move on. Although, note that we never see Laurie Metcalf talking into the device, only Mickey, and yet we know she does in fact make telephone calls like the one to Randy. Oh plot holes!


I love the way the Nosferatu music creeps back in again at just the right moment. Just like Scream did with Halloween so that that film's legendary score ended up becoming the score of Scream.

And, of course, the in joke of Cici watching Nosferatu being the slayer and all. I think Buffy could take down Ghostface, don't you? She took on Dracula and one, right?




You know, earlier on in this very scene dissection, I said that this sequence in Scream 2 is the first that really diverges from the original's blueprint of opening scene -> intro to Sidney -> campus scenes -> Ghostface impersonations -> Gale being a bitch -> etc, but now that I think about it the scene shares a lot of similarities with scene 18 of Scream in which Principle Himbry bites the dust. Both are tide over scenes, meant to add horror oomph to a film that features a lot more story than most. Both feature the death of a character that doesn't have a personal connection to Sidney, and which hasn't had a major part to play in the film. Also features Ghostface playing seemingly innocent taunting games before bringing out the big guns knife. Plus, both feature obvious nods to their primary actors' most famous role (Happy Days and Buffy the Vampire Slayer respectively). I guess, if anything, it's like Sidney's attack scene, but with a murder payoff. Actually, yes, let's go with that.

One thing I like - and that mirrors the Himbry death scene - is that wherein Principle Himbry checks in the closet instead of behind the door, where Ghostface is hiding, Cici checks behind the door instead of inside the closet (which you can see behind her in the top shot), which is where the killer is hiding. It's this sorta stuff that makes the Scream movies smarter than most.


"Hello?"

Oh, Cici! Behind you!






Well this was never gonna work out well for poor Cici there, was it? Running up the stairs when she should be going out the front door (it's insulting). And, per the film's nudgewink style, the way that door is framed in the background all but screams "the killer is going to jump out of here, we're gonna make you wait for it." And then tada!


Close.


Not so close.

Hmmm.


Where did she think she was going? If she'd really tried she could've made a go of jumping off the balcony. It's only three storeys off the ground after all.


Even more pop culture references! Characters watch this scene in Halloween: H20, which stars Michelle Williams who was one of the stars of the Kevin Williamson created Dawson's Creek. Also, Smidge was originally cast in a similar blonde-who-dies role in Urban Legend, released one year later, but pulled out due to scheduling conflicts. She was replaced by Tara Reid. Hmmm. Make of that what you will.


Why hello there Mr Oops I'm In Shot and Nobody Noticed. I love that this blooper is so noticeable. It's like the wheelie board under Drew Barrymore as she's being dragged along; i can't not notice it! It helps distract from the silliness that is Cici's ridiculously long fall. She's falling from the third floor, not the tenth!


Splat! Goodbye Cici Cooper. It was great knowing you.

Scream:
Intro, Scene 1 Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8, Scene 9, Scene 10, Scene 11, Scene 12, Scene 13, Scene 14, Scene 15, Scene 16, Scene 17, Scene 18, Scene 19, Scene 20, Scene 21, Scene 22, Scene 23, Scene 24, Scene 25, Scene 26, Scene 27, Scene 28, Scene 29, Scene 30, Scene 31 Scene 32, Scene 33, End Credits

Scream 2
Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6, Scene 7, Scene 8

Monday, October 11, 2010

Review: Let Me In

Let Me In
Dir. Matt Reeves
Year: 2010
Aus Rating: MA15+
Running Time: 115mins


Hollywood’s tradition of taking foreign-made films and remaking them for local filmgoers has been around since sound was introduced and audiences realised they had to read subtitles in order to enjoy international cinema. Let Me In is a remake of Let the Right One In, a Swedish vampire film from 2008 that gained a critical and cult following. Matt Reeves’ (Cloverfield) remake is a good one, but sadly fails to emerge out of the towering shadow of the original.

Read the rest at Trespass