The Fourth Kind (2009)

The Fourth Kind (2009)

“There are four kinds of alien encounters. The fourth kind is abduction.”

The Fourth Kind, by director Olantunde Osunsanmi, is an unusual beast – a bizarre blend of documentary, mockumentary, dramatization and out-and-out sci-fi/horror fiction. Spinning off the premise of alien encounters in an isolated Alaskan town, Osunsanmi presents us with twin views as the story unfolds: “actual” footage of Dr. Abigail Tyler and dramatization with Milla Jovovich portraying Dr. Abigail Tyler. At times this choice is extremely effective and, at other times, succeeds in pulling you out of the story.

At times the footage and the dramatization are presented side by side or even in grid format. It is a very interesting and original approach; however, for me, it served to remind me that it’s a story, a movie and I would suddenly find myself in the theater again, no longer immersed in the story. Thankfully, the director manages to pull you back in quickly, but the result is at times jarring. I also think this was on purpose, a cinematic trick to make you feel as if it were “real” and had indeed happened and to some degree it works. When the scene’s switch to focus on Dr. Tyler’s recorded footage and is combined with an excellent, amplified score, the result is pure horror. To my surprise, I felt my heart race and my hands and feet tense up. It can be quite chilling and effective, if you let yourself get caught up in it and I did.

The plot is fairly simple, recounting Dr. Abigail Tyler’s encounter with the Fourth Kind, first through her patients (she’s a psychologist) and then her own involvement as well. To say much more would be unfair.

The movie succeeds much more on the psychological and horror levels than any sci-fi level, there are no space ships (ala CE3K) and no aliens – at least in the traditional sense. The focus is on the human element and the affects of the encounters both to the mind and body. When the encounters happen, it can be truly terrifying and horrific. Let’s just say this isn’t a Spielberg happy ET experience. At these moments, the dramatization layer falls away and lets the “real” footage take over where the film is obscured and distorted. This is insanely effective as it allow you to fill in the blanks and imagine much more than is actually there – not many films can do that and not as well as you find here.

The performances are all top notch with Milla Jovovich really hitting it home. You feel her character’s loss, her desperation, her fear and her drive. This is her best performance. Elias Koteas and Hakeem Kae-Kazim support her character, grounding her findings and lend the believability the story needs. Will Patton, as the sheriff, serves as the skeptic exceptionally. The most haunting performance may be the Dr. Abigail Tyler character herself found mostly in an “interview” with the movie’s director framing the film and the key plot points throughout; she is a haunting visage, and she emotes a broken and haunted woman.

I’m not sure this film will appeal to everyone, to many at all, In fact. It takes a large leap of suspension of disbelief to succeed. If you get caught up in how hokey the story and premise can be (and the devices found within expose that from time to time), you won’t find yourself truly enjoying this film. However, if you can let yourself get into the story, you may find yourself genuinely frightened and affected.

7.5 out of 10

Dead Snow (2009)

Dod Sno – Dead Snow (2009)

Zombies. Zombie movies are universal. The idea of an undead corpse trying to eat you is globally frightening. Of course, the US is famous for them: “NOTLD,” “Dawn of the Dead,” “Return of the Living Dead.” Most other countries have their zombies too: UK “Shawn of the Dead”; Italy “Zombie”; Spain “Tomb of the Blind Dead”; France “The Living Dead Girl”; Japan “Versus”. Recently, Norway has spawned its entry into the mix: “Dod Sno” or Dead Snow (2009).

While I wouldn’t be surprised to find that Tommy Wirkola’s Dead Snow is not the first Norwegian zombie movie, it is the first one to receive the amount of hype and press it’s getting. The internet provides movie fans across the globe early access to posters, stills and trailers nowadays. Combine that and a spot a Sundance, Dead Snow garnered a early positive buzz. Recently, I was fortunate enough to see the film and was pleasantly surprised at what I found.

Dead Snow is a riot, a successful mix of gore and comedy with a likable cast and fun, if light, plot and beautifully realized zombies. The movie never takes itself too seriously and doesn’t try too hard to break any new ground. While never truly scary, the film is delightfully ghoulish and grand guignol, much like an early Raimi or Jackson joint.




Wirkola and his co-writer, Stig Frode Henriksen, wear their love for the horror genre on their sleeves, borrowing heavily from not only zombie films, but others such as Friday the 13th, Halloween and the Fog. Still it has its original moments: never have entrails been used so creatively. For example, one of our heroes dangles from a cliff holding on to the unraveled intestines of one zombie while fighting off another hanging along with him. Early on, the Nazi Zombies attack the local trapper (much like Crazy Ralph from Friday the 13th movies) in his tent a beautifully shot subtle and brutal scene. Later on, the big bad calls forth a barrage of undead soldiers with a howling cry; the ground shakes as they suddenly and violently erupt from the frozen tundra.

While the actors do their part well enough and are appropriately appealing , it’s the effects and set pieces that make this film work. The zombies themselves succeed wonderfully; the understated makeup allows the iconic costumes carry as much fear as dead rotting flesh should. Setting the carnage against the bright white of a snow covered landscape also emphasizes the absurdity and gore: bright, bright red blood and dark wartime clothing contrast sharply against brilliant white snow. There are also touches of promise in later scene, when Wirkola spends some time laying out a scene, placing his pieces on the movie board for optimal visual effect. My favorite scene has to be when the big bad and his minions corner our last-guy hero near a burnt-out pit.

For me, this movie was well balanced comedy horror film with great effects and gore. It is perfectly crafted for a world market too, setting up the plot in a familiar tone. This movie won’t overwhelm you with a dense plot and will deliver the goods. The last 30 minutes or so of Dead Snow continue to make me smile long after lights come back on and the popcorn is gone. Well done, Wirkola, well done.

Beyond Re-animator (2003)

Beyond Re-animator (2003)

By the time this movie was released, I had written off the Re-animator series and gave this flick a big old pass. So, up until this week, I never saw this very enjoyable romp of a horror flick. I caught this on Time Warner's FearNet VOD options. I was surprised how much fun it was and how well it was made and acted. While still not a great film nor a classic, this was better than many films I've seen lately.

At this time of its release, I think this film may have been a victim of the market place. Horror fans were kneedeep in exploring the J-Horror explosion, even the Freddy vs. Jason film was being directed by an Asian director. Even though this film was being produced by the Spanish production compay Filmax, by the time it made it to the States, it had missed it's opportunity to capitalize on the success and following of the previous two movies, Re-Animator and Bride of the Re-Animator.

So, after seeing it some 5 years later, I think this movie may need a revisit. The cast hams it up wonderfully from Jeffrey Combs to Simón Andreu as Warden Brando, especially in his later Rat-Zombie incarnation. Heh, too much fun.

The movie is set in a prison, but it really doesn't play out a prison film. The prisoners really don't spend that much time behind bars -- in fact, West is shown in his cell only in one scene. Every other scene, he's either in the courtyard or the operating room/laboratory or somewhere in between. This could have just as easily been set in an asylum or a bording school.

The effects by Screaming Mad George are chessy but in a magnificently fun way. One cell mate spends the later part of the film as a zombie from the waist up in what may be the highlight of the film. Another injects himself with West's syrum as if it were a street drug and explodes into zombie-dom -- continuing to persue his junky ways.

Brian Yuzna directs with his almost-there flair. He has a few shining moments of atmosphere, such as West's final moments on film, but most of the film is about getting from one scene to another. At times the movie is top notch and at other times it appears made-for-tv. It almost appears as if they were running out of money at the end of filmmaking and had to make cuts. Even at it worst, it's still highly watchable and a better-than-usual effort from Yuzna.

In the end, I enjoyed Beyond Reanimator and that's what counts the most. I had a great time watching it even with its flaws. It held my attention throughout and left me with a smile on my face. I can't think of a better complement for a film.

So, here's the trailer ... Beyond Re-animator
http://www.youtube.com/watch?v=6WMpKfkm9S0

Midnight Meat Train (2008)

Midnight Meat Train (2008)

With this week’s extremely limited release of Midnight Meat Train comes some controversy with the idea that serious mainstream horror is getting ignored by the distributors. As more and more horror films are being released with PG-13 ratings, the R rated American Horror film is getting the shaft. On the internet and in the press, Midnight Meat Train has recently been getting the spotlight for a film falling into this absent-minded mindset.

So, imagine how shocked I was when I found out that this flick was playing in a local (Raleigh, NC) theater and at $1.50 no less. What? Were my eyes deceiving me? No, there it was at the local second run theater on its opening night. While I thought I was going to have to decide whether or not I was going to pluck down the bucks to see the third Mummy movie or not, I found myself scrambling to get to the theater to see Midnight Meat Train.

So going into this movie, I knew very little about it. I knew it was based on a Clive Barker book of blood and that Vinnie (Juggernaut) Jones starred as the butcher. I discovered I’d been caught up in the ‘press’ of it all instead of the movie itself. How fascinating. I was going to go see a horror film, in the theater, with little to no expectation of the movie itself – besides the bare basics on the plot and stars.

I sat in the theater around 4:30 in the afternoon with about a dozen or so fellow North Carolinians. I wondered if it was going to be subpar or just gross or just silly. Why wouldn’t they wide release the film I was about to see. I hadn’t seen the first ad on television, only the online trailer – and that was some time ago.

The film itself is shot, directed and photographed very professionally. The actors are fine, better than usual in fact. Hey, is that Brook Shields and is that the guy from Desperate Housewives? Hey, there’s Sam Raimi’s brother – again. Bradley Cooper stars as Leon a photographer who stumbles onto the mystery of missing persons cases after he shoots a Model the night she goes missing. Later he pieces together that a mysterious Butcher (Vinnie Jones) was with the Model (on the train) that night as well. From there, things go downhill for Leon as he delves deeper into solving the puzzle. His girlfriend Maya (Leslie Gibb) and best friend Jurgis (Roger Bart) get drawn in as well trying to save Leon from his self-destructive obsession. Then it gets weird – in a good way.

Vinnie Jones makes a striking figure giving this film a much needed center; he’s quiet and imposing. The director, Ryuhei Kitamura (Versus, The Messenger, Godzilla: Final Wars), guides the movie with a steady and focused pace very unlike his other films. Only a few times during the film would I recognize his trademark kinetic style such as the climatic fight scenes on the train and some of the more graphic killings – watch out Ted! For the most part the film is a surprising success.

The film is not without its flaws however. To its credit it takes it time setting up the story, giving us some glimpses into the horror we’re bound for – sometimes these glimpses are too jarring for the narrative and upset the balance. The tension that should be surrounding the Butcher isn’t quite all there either. As we’re aware he kills on the train, he is not as imposing when the film spends time following him around when he’s not on the train. Also, the last act of the film builds to what should be a fantastic reveal to the mystery of the Butcher and his train, but it stutters and only gives us a brief unrewarding look into the bigger picture. That and the fact the ending is predictable make the film fall just short of being what it really wants to be – a classic. While I certainly enjoyed the film (especially for $1.50), I fear it will be known more for the film that got the shaft on its release than a film that known for its own merits.

6 out of 10

Review: Cloverfield

Cloverfield
Director – Matt Reeves
Cast - Lizzy Caplan, Jessica Lucas, T.J. Miller, Michael Stahl-David, Mike Vogel, Odette Yustman

After months of buildup and hype, Cloverfield is finally upon us. A moderately-sized budgeted Monster Movie from Lost Creator and future Star Trek Director J.J. Abrams. Does it live up? Is it effective? Is it scary? Hell yes. This movie delivers. I haven’t enjoyed a Monster movie this much at the theaters in some time. This is 2008’s earliest contender for Horror Movies of the Year. Awesome…so, now to why.

The movie starts off slow, introducing an average batch of characters. Each is rather typical, which is what they’re meant to be – one of us, or the friend you have or the person you know. While it gives the beginning a disadvantage, it is what makes the rest of the film so believable. The setting is a going away party for Rob, who has accepted a big promotion taking him to Japan. The party is thrown by his brother and brother’s girlfriend. His best friend, Hud, is there and the girl the friend has a crush on, Marlena. Another character makes a late entrance – his maybe girlfriend, love-of-his-life, Beth. They fight, she takes off, and he sulks. Poor Rob, boo hoo.

Then all hell breaks loose. Yes, this is a Monster movie. And right in the middle of Rob’s normal everyday not-so-exciting life, a Godzilla-sized Monster attacks New York. The rest of the movie is their attempts to survive the carnage and rescue Rob’s Beth.

Its Rob’s passionate determination to find and save Beth that drives the film. It serves both as a catalyst for the various set pieces, keeping the cast in and around the Monster and the devastation and the emotional core of the film that sets it apart from every other Monster movie out there. The Monster becomes secondary. While have the dramatic tension coming from a Giant Ferocious Beast is unique and exciting, it could have easily been a sinking ship, an earthquake or some other natural catastrophe. But, thankfully, it is a Monster and that perspective provides some of the most stunning visuals ever seen.

Now, as you may know, I haven’t touched on the gimmick of the film yet. The movie is filmed as if it was recorded by Hud with a hand-held camera. And that’s it. Every scene is filmed in this manner. Shaky at first, then surprisingly it steadies a bit when needed or rocks violently when exaggerating an escape or confrontation. It works wonderfully. It totally draws you in. And when you feel you are there, you believe what is going on around you. The fact you don’t know what’s going on or where the terror is, the more gripping the story becomes.

The cast is remarkable as well, playing it naturally and convincingly. It is totally believable that Rob would decide to chase after his love. He never asks anyone to join him, but when they do you understand their decision – you want to as well. Subtly the movie speaks to how the human race values love and friendship and companionship. How we don’t want to be left alone. Marlena, who barely knows the others, follows along as an example of this. She could have easily decided to do otherwise but remains with her new companions at every opportunity. Hud continues to follow his best friend, risking his life to save Beth even when he knows he should do otherwise. He must help his friend; no other choice would be honorable or honest.

Now, the Monster -- how does it live up to Movie Monsters? It may be the best Movie Monster in the history of motion pictures. What? How? It succeeds more so than any of the others have or can. Godzilla may the be the granddaddy of all Monsters and hold a very special place in Horror Movie lovers’ hearts, but he rarely instills fear – he’s a man in a suit. King Kong is fearsome and sympathetic, but it’s that sympathy that makes him less a Monster. The dinosaurs in Jurassic Park are terrifying at times but they’re in our subconscious already, we are aware of what dinosaurs are. They become more of a loose animal than a Monster. The Monster of Cloverfield is totally unknown to us and no one is telling us squat about him. He’s there; he’s mean, hungry, angry and tearing up the place.

The special effects are spot on. They deliver and how, from the Monster, to the parasites that accompany him, to the destruction, to the army’s counter attacks and more. They are totally believable and convincing. Enhancing the believability of the movie is the sound effects, expertly capturing the thunderous roar of the Monster, the deafening thunder of the guns, tanks and bombs, the terrifying screeching of the parasites.

I’m giving this movie a perfect score. I don’t expect to give out another such score anytime soon. I can’t wait to see this movie again.

Review: Sweeney Todd: The Demon Barber of Fleet Street

Sweeney Todd: The Demon Barber of Fleet Street

Director: Tim Burton

Cast:
Johnny Depp ... Sweeney Todd
Helena Bonham Carter ... Mrs. Lovett
Alan Rickman ... Judge Turpin
Timothy Spall ... Beadle Bamford
Sacha Baron Cohen ... Signor Adolfo Pirelli
Jamie Campbell Bower ... Anthony Hope
Laura Michelle Kelly ... Lucy / Beggar Woman
Jayne Wisener ... Johanna
Ed Sanders ... Toby

Released: December 21, 2007


Synopsis:

A barber, falsely imprisoned for 15 years, returns to London to exact his revenge on those responsible. Upon setting up residence on Fleet Street above Mrs. Lovett’s bakery, Sweeny Todd is further enraged when he learns the fate of his family he was forced to leave behind. Mrs. Lovett quickly recognizes a mutual benefit in Mr. Todd’s homicidal habits. Soon, a plot is in play to trap Judge Turpin enabling Sweeney Todd to reintroduce himself and his “friends.”

Reaction:

Tim Burton has crafted his finest work in years. This movie succeeds on almost every level. As a musical, the songs are lively and memorable and exceptionally well played. As a gothic horror, the setting is dark and dreary and the gore is plentiful and red. As with most Burton films, the cinematography permeates with atmosphere and mood. However, while there are moments of tension, the movie lacks an appropriate amount of suspense for its like.

As for the cast, Johnny Depp is magnificent as Sweeney Todd. He manages to restrain much of his typical ticks and brings the barber an endearing amount of pathos and pain. His motivations and character arc is clear and focused. Helena Bonham Carter surprises as Mrs. Lovett. Her performance grounds the story. When she needs to decide between her love for Sweeney Todd and her love for young Toby, you feel her pain and regret. She deserves to be recognized for her performance. Alan Rickman does not disappoint as Judge Turpin. He delivers one of the most despicable and shady performances possible. However, it is Ed Saunders as Toby who made an incredibly strong and lasting impression. He is able to handle scenes easily on his own and against heavyweights such as Depp and Carter – no easy feat. Again, the scene between him and Mrs. Lovett where he swears his loyalty and love is a heartfelt and heartbreaking as they come.

This is a masterpiece of cinema. I recommend it strongly.