Direct Cinema

Vampyres (Larraz, 1974)

2010-10-11T09:30:00.004-04:00

"They shared the pleasures of the flesh, and the horrors of the grave!"

A drab attempt at horror eroticism. There's an interesting patina of decay over Larraz's film, particularly evident in the production design and cinematography, which captures a sort of baroque decadence left to rot, but the rest of the film is so amateur that one can't really call this a worthwhile film, even as historical document.

Deepstar Six (Cunningham, 1989)

2010-10-05T08:49:00.005-04:00

"Save Your Last Breath... To Scream."

The least of the aquatic horror films that sprung up around The Abyss. Far worse than Leviathan (which I still maintain isn't a terrible film). I can remember seeing the box for Deepstar Six countless times at the local video store when I was growing up and always being intrigued but unfortunately, this fits squarely into that (very 80's) horror category of films that utterly fail to deliver on the promise of their incredible VHS box art. The characters are all stock, the dialogue is atrocious, the creature is poorly designed and executed, and the narrative is cliche and lazy. The are only very minor pleasures to be had here and you really have to look for them - set design, the deep sea setting - but even those are more a case of the viewer really seeking out something from which to derive worth.

Let Me In (Reeves, 2010)

2010-10-05T08:40:00.003-04:00

A very curious remake. I'm not entirely sure where I stand on this. Taken on it's own merits, Reeves's film is very, very good. And he does add a few new visual elements, including an incredible, visceral sequence towards the middle of the film. But the bulk of the reason that this film is so good is because it is essentially and undeniably Let The Right One In.

Dark Night Of The Scarecrow (De Felitta, 1981)

2010-10-05T08:18:00.004-04:00

"Bubba didn't tell you that, Bubba didn't tell you anything. Bubba's dead."

"I Know."

An earnest, solid, workmanlike effort that attempts to scare with sound and suggestion rather than the violence we are so accustomed to seeing today. Durning commits himself completely to his villain role, and I can see why many people who caught this made-for-TV film back in 1981 remember it fondly, as it has a rather nostalgic quality about it, regardless of whether you've seen it before or not. Keep in mind that much of the popular opinion of this film is most likely inflated by memory, but still, watching this reminds one that there was a time when horror films were allowed to take their time and build up an atmosphere.

The 2nd Annual Shocktober Horrorfest!!!

2010-10-05T07:53:00.014-04:00

Welcome to the sophomore edition of the Shocktober Horrorfest! It's something I do every year (or try to do), but the last time I blogged about it was way back in 2007. The concept is simple - Every day, from October 1st until Halloween night, I'll be watching and commenting on at least one horror film, culminating in a big marathon on the 31st. The comments will range from brief impressions to longer, in-depth studies, depending on how the film strikes me. As I did with Horrorfest no. 1, I'll be putting up a Horrorfest sidebar with easy access to every review in the series right here below this post. This is one of the great pleasures of the year in terms of film for me, and it is my hope that those of you who read my blog will discover hidden gems, rediscover and revisit old classics, and if you don't already, come to appreciate horror films (even the bad ones).

As always, please feel free to comment and discuss, and if anyone has any suggestions for horror films they'd like to see reviewed, send them my way. Enjoy!

Shocktober Horrorfest '10:
10/1:
Dark Night of the Scarecrow
10/2:
Let Me In
10/3:
Deepstar Six
10/4:
Vampyres
10/5:
Scarecrows
10/6:
Wrong Turn 2: Dead End
10/7:
Tombs of the Blind Dead
10/8:
The Church
10/9:
The Fly II
10/10:
Critters
10/11:
Hereafter
10/12:
Pet Sematary II
10/13:
The Dunwich Horror

Back Again, or If A Blog Restarts In A Forest And There's No One Around To Read It....

2010-10-05T07:30:00.006-04:00

Hey everyone. I doubt anyone is still actively following Direct Cinema anymore, after I proclaimed the blog to be back last year, and subsequently managed a grand total of two posts. But I'm stubborn, and I've decided that my annual October tradition of "31 Days of Horror," is a great reason/excuse to start posting once again and get this blog up and running once more. This entire month, I'll be watching (or trying to watch) a horror film every single day, culminating in a marathon on Halloween night. I try to select a healthy mix of horror films from different eras and sub-genres, and usually throw in a few I've already seen for good measure. Because of time constraints, a lot of the posts probably won't be full pieces but rather brief thoughts/impressions, or even just a way to keep track of the films I'm watching, but some posts will be lengthier... I just can't promise which ones or when. The goal now is to just get the ball rolling, and in due time, get this blog back on it's feet. If anyone out there is still reading, I sincerely encourage you to follow along, get the most out of your October, and try to watch as much horror as you can. Enjoy!

Brief Impressions: The Taking of Pelham 1 2 3 (Scott, 2009)

2009-06-14T23:40:00.008-04:00

Days before the release of Tony Scott's The Taking of Pelham 1 2 3, I came across a handful of early reviews touting this third adaptation of John Godey's 1973 crime novel as being the best and most satisfying of the lot. As a great admirer of Joseph Sargent's 1974 adaptation, an underrated and under seen gem (and seminal "New York City" film), I struggled to understand how this could be possible, but nevertheless, my interest was piqued.

Having seen Scott's film, my immediate reaction is this: Anyone who champions this film as superior to Sargent's is immediately calling into question their cinematic taste. That is not to say this latest rendition of Pelham is a terrible film. Though Scott once again gives in to his typical directorial excess where a workmanlike, direct style would be more appropriate (see Sargent's film), he benefits from committed performances and a script from Brian Helgeland that adds some interesting depth to the main characters. But Scott's film isn't the portrait of a city and its inhabitants that Sargent's film was, and grit and personality are sacrificed at the altar of empty style. The end result: A solid, though unremarkable, surface-level thriller. And the last time I checked, the gap between unremarkable and classic was a fairly wide one.

A Random Thought: The 36th Chamber of Shaolin

2009-06-13T13:39:00.004-04:00

It fascinates me how movies of this particular genus are simultaneously crude - rough, unpolished, simple - dramatically (i.e. in terms of performance, narrative, thematics), and absolutely sophisticated in terms of technique. It goes without saying that the fight choreography is first rate, but what really caught me off guard was the cinematography, particularly the way director Chia-Liang Liu and dp Yeh-tai Huang move the camera around the action. There is a brutal, fluid elegance to the camerawork. The raw kineticism of the fights is breathtaking. The camera covers the carnage at intelligible distances for long stretches at a time, and Liu knows exactly when to cut. Over 30 years later, it's a wonder that the modern action film still hasn't learned.

Direct Cinema is back online... Again!

2009-06-13T13:17:00.004-04:00

It's hard to believe that it has been over an entire year (15 months to be exact!) since my last blog post. It seems like only yesterday that I even decided to start up a film blog. In the interim, my life has drastically changed for sure, and really, the main reason why I stopped posting was simply because I didn't have the time or the inclination. But enough of that. The purpose of this blog is and always will be film, pure and simple, and now that I have settled into my new environs, my 'hankering' if you will, for blogging, has returned, along with another necessary component - time. So if the three of you who used to read this blog (excluding family) still do, thank you. The posts will probably start small and build up as I get back into the groove. As before, I encourage you all to post responses. After all, I started this blog as a means for sharing my passion for the cinema and generating intelligent discussions about it. But enough rambling... For the ~~second~~ third time, welcome to Direct Cinema. Enjoy!

-R.A. Naing

Sophie Scholl: The Final Days (Rothemund, 2005)

2008-03-13T16:52:00.005-04:00

Sophie Scholl: The Final Days belongs with the class of refined, pedigreed historical cinema that Europe seems to churn out to such a degree that it has become a "brand" of sorts here in the United States, patronized by art-house theaters from coast to coast. And though it attempts nothing radical within the confines of this particular type of film, it is nevertheless a potent, artful achievement. Culled from testimonies and long-buried historical documents, it is an examination of the last six days in the life of the German anti-Nazi heroine. And though the action (in this case not quite the appropriate word) is confined mostly to a handful of rooms and a couple of characters, it is a gripping example of cinema as historical document, as well as a showcase for a handful of fantastic, carefully calibrated performances (especially Julia Jentsch, who plays Sophie). Rothemund has crafted a work of powerful restraint that manages to be staid and verbose without ever being tedious, a work that derives considerable emotional momentum not from moments of unbridled fury, but from moments of quiet control. IMDb listing.

The Ten Best Films Of 2007

2008-03-11T18:37:00.006-04:00

1.   There Will Be Blood (Paul Thomas Anderson, United States)
2.   The Assassination Of Jesse James By The Coward Robert Ford (Andrew Dominik, United States)
3.   No Country For Old Men (Ethan Coen & Joel Coen, United States)
4.   Silent Light (Carlos Reygadas, Mexico/France/Netherlands/Germany)
5.   I'm Not There (Todd Haynes, United States/Germany)
6.   Zodiac (David Fincher, United States)
7.   The Diving Bell And The Butterfly (Julian Schnabel, France/United States)
8.   Into The Wild (Sean Penn, United States)
9.   Paranoid Park (Gus Van Sant, United States/France)
10. The Man From London (Béla Tarr, Hungary/France/Germany)

The Molly Maguires (Ritt, 1970)

2008-02-21T16:23:00.006-05:00

Ritt's bleak portrait of working class immigrants chasing liberty and the American dream belongs to the golden age of American cinema that began with Bonnie & Clyde, and is far more intelligent and artfully crafted than it is given credit for. James Wong Howe's incredible scope photography of the coal mines and Tambi Larsen & Darrell Silvera's Oscar nominated art direction lend the film a sooty authenticity, and the wordless nearly 15-minute long opening sequence immediately calls to mind P.T. Anderson's There Will Be Blood. As in his best work, Ritt doesn't allow his fondness for tackling social problems to overpower the narrative. A film in serious need of critical reappraisal. IMDb listing.

Killer's Kiss (Kubrick, 1955)

2008-02-20T18:23:00.010-05:00

Stanley Kubrick's lean B noir, only his second feature length film, provides a revealing glimpse of his emerging personal style. And though Killer's Kiss is a relatively simple exercise, running a trim 67 minutes, it is fascinating how Kubrick chooses to tell this pulpy story of l'amour fou with images rather than dialogue. The final chase sequence is a thing of beauty.

Flash Point (Yip, 2007)

2008-02-19T23:44:00.006-05:00

The cinema of Hong Kong has always been defined primarily (at least in an international sense) in terms of its action films. From the martial arts films of the Shaw Brothers in the 60’s and 70’s (Come Drink With Me, Five Deadly Venoms), to the pioneering work of Jackie Chan (Police Story) and John Woo (Hard Boiled) in the 80’s and 90’s (to name but a few, the list could go on and on…), Hong Kong has often been at the vanguard of action cinema, constantly innovating and redefining the look and feel of the genre and just as constantly being imitated.

With Flash Point, director Wilson Yip and star/fight choreographer Donnie Yen once again attempt to push the action genre to more extreme heights, though the results are quite mixed. From a narrative standpoint, the film is rather perfunctory. Taking place in 1996, just before the return of Hong Kong to Chinese rule, it deals with the efforts of a police operation, headed by Yen’s Inspector Ma, to take down a Vietnamese crime family. All of the requisite beats one would expect from such a plot are present. And though Yip broaches the interesting theme of “returning home” – many characters comment on their migrant status – it isn’t developed beyond a superficial level. Anyone even remotely acquainted with Hong Kong policiers will find themselves on familiar ground.

Given this, it would be quite understandable to dismiss Yip and Yen’s film as yet another formulaic entry from a stagnating contemporary Hong Kong film industry, though such an assessment wouldn’t be completely fair. Yes, the plot is hackneyed, the acting is exaggerated, and the dialogue is mechanical and sometimes nonsensical (though I assume something was lost in translation), but to judge this film predominantly on these elements would be to miss the point almost entirely. For though it grinds to a halt in its quieter moments, Flash Point positively explodes during its louder ones, especially when Yen is in the spotlight.

At its core, Flash Point is an outlet for Donnie Yen’s continuing obsession with MMA (mixed martial arts), something he utilized to great effect in his first collaboration with Yip, Sha Po Lang. This particular approach (which blends styles as diverse as Muay Thai and submission grappling) would seem to be a direct reaction to the graceful bloodletting of Woo’s The Killer, or the wire-fu spectacles Crouching Tiger, Hidden Dragon and Hero. The action feels organic, the fights gritty, brutal, and unpredictable. Every punch is felt. In the current homogeneous action film landscape, Yip and Yen have created something fierce and angry, something that feels like the logical next step.

There is far too much banality in Flash Point for it to be considered a complete success, yet for all of its shortcomings, it still succeeds as a pure adrenaline rush. This is the action film as performance art, pushed to an almost abstract level, where the emphasis is on the technical beauty of the action, regardless of plot and characterization, and pleasure is derived from the sounds of bones crunching, and above all else the athletic prowess on display.

Direct Cinema Is Back!

2008-02-19T12:23:00.006-05:00

...not that it was ever really gone, but... you get my point.

Hello to all of my readers. I realize that it has been quite a while since I last updated my blog, and longer since I last updated it regularly, and trust me, it wasn't without reason. I have been quite busy with other things for the past couple of months, but I just wanted to let all of you who have been reading know how much I appreciate your support, and also how much I love running this blog. Film is something I wake up for in the morning. It is something I breathe, something I bleed. And I wanted to use this post to state that starting today, Direct Cinema will return to being a regularly updated blog.

I just finished folding the reviews I did for last year's 1st annual "Shocktober Horrorfest" into my regular review directory, so there won't be a Shocktober sidebar anymore. Anyone looking for those reviews, you can find them all under the general "reviews" sidebar. October '07 is past and I felt I needed to do some cleaning and maintenance of the blog so, that's that.

Anyways, all of the old columns (The Trailer Compendium, the Best of Lists) will be back, along with film news and of course my reviews, and I have some ideas for a couple of new weekly/monthly columns. I'm aiming to have my Best Of list for 2007 up before the Oscars. I hope that you all continue to check out Direct Cinema, and again, please leave comments! I love reading them and having critical discussions about the film's I highlight is one of the reasons that I do this, so don't be shy. Also, if you enjoy the blog, spread the word!

-R.A. Naing

Bob le Flambeur (Melville, 1956)

2008-01-15T12:42:00.001-05:00

A quiet fatalism runs throughout Bob le Flambeur, slowly revealing itself in the rain slicked streets, the nightly routine of boozing and gambling, the overcast dawns, and especially Bob Montagné's face, his furrowed brow, muscles constantly contracted, always staring down. The rain, try as it might, can't seem to wash away the sins of the many who roam Paris by night, and fate, no matter how much one might try, cannot be altered. And so Bob goes about, losing his money, over and over again.

An undeniable stylistic precursor to the Nouvelle Vague, Melville's film is the type that will always seem modern and fresh, no matter how many decades pass. There is a languid vitality to the film that is impossible to do justice to through words alone. This is a film that must be seen.

Juno (Reitman, 2007)

2008-01-11T11:00:00.000-05:00

This year's Little Miss Sunshine. That seems to be the label of choice for all of the award season pundits when discussing Juno. And though the comparisons are apt to a certain degree (this sort of hip, colorful, American indie filmmaking has become a genre unto itself) Juno does a remarkable job of toeing the line. On occasion, it comes close, but director Jason Reitman and writer Diablo Cody never quite allow the film to implode into the realm of cloying quirkiness. Juno's cheekiness may be annoying at times, but it feels quite true to her emotional and physical maturity. Ellen Page is sure to be the beneficiary of much praise, but the performance to savor is J.K. Simmons, who imbues his role as Juno's father with humor and a wonderfully confused but unwavering love. Certainly not the year's best, but funnier, if quite a bit lighter, than last year's indie sensation.

Charlie Wilson's War (Nichols, 2007)

2008-01-09T11:06:00.001-05:00

Charlie Wilson's War is a product that looks like an Oscar contender, smells like and Oscar contender, and has the pedigree of an Oscar contender, but once finally revealed, is nothing more than nicely polished fluff. Let me clarify that in no way do I abhor Mike Nichols' film. It's just that any talk of this film as one of the year's best is quite baffling to me. There is certainly much to enjoy. Yet, there is something about Nichols' film, its inherent simplicity, the pandering nature of the entire exercise, that I can't quite get past.

This is pop history, nothing more, nothing less. A simplistic exploration of a complex period of recent US history that nevertheless feels strangely pretend. Too refined to be considered proper farce, the film also lacks the subversiveness and vitriolic energy that the best satire requires. And Nichols' filmmaking, while polished and professional, feels strangely hollow. Gone is his feel for the contours of human behavior, and the vitality, that marked much of his early work. So while Sorkin's script crackles and pops in all the right places (done exceptional service by Hoffman's perfectly mannered and hilarious turn as CIA man Gust Avrakotos), it does so in the service of nothing particularly meaningful. Unless of course, you are the type who would confuse lazy, obvious, finger-pointing, for something clever and meaningful.

In the end, when the entire aftermath of Wilson's clandestine campaign is reduced to a single minutes long scene in a conference room (and capped by a punchline quote), it becomes clear what Nichols' real intentions are. Charlie Wilson's War is a breezy comedy that one can enjoy for a brisk 97 minutes and forget nearly as quickly. For truly inspired satire, check out Nichols' Catch-22 instead.

Gabrielle (Chéreau, 2005)

2007-12-19T19:47:00.001-05:00

In Joseph Conrad's short story The Return (of which the author himself remarked "I hate it"), Patrice Cheréau finds the basis for this potent chamber drama, an outwardly staid, inwardly powerful tale of marital strife. There is much to savor here; in the note perfect performances of Huppert as the titular Gabrielle, and especially Pascal Greggory as the confused cuckold; in Cheréau's carefully stylized direction; in Eric Gautier's stunningly polished images; in a score by Fabio Vacchi that manages to be both melodramatic and elegant. On top of all of these things, Gabrielle also manages to illuminate the communicative space between cinema and the theater. Cheréau's film is a masterpiece in a minor key.

The Adventures Of Baron Munchausen (Gilliam, 1988)

2007-11-14T12:58:00.001-05:00

Terry Gilliam's fantastically baroque visual sense and his childlike playfulness are on full display in this oft overlooked film, a surprisingly potent examination of the creative soul and its place in an exceedingly rational world. It is rather unfortunate that a regime change at Columbia Pictures, the film's backer and distributor, and the ensuing behind the scenes power struggles, kept this film from reaching a larger audience and the acclaim it most certainly deserves. One of Gilliam's finest. IMDb listing.

All The Colors Of The Dark (Martino, 1972)

2007-10-31T17:10:00.000-04:00

"They exist. They bear the mark of the devil inside them. They may be your neighbors. They may be your wife, husband, sweetheart. They may even be your children. Their time has come."

Sergio Martino's dizzyingly stylistic film - deeply influenced by Rosemary's Baby - with its mounting, omnipresent paranoia and its evil cult, belongs near the top of the giallo heap. Gialli have always been about style and aesthetics first and foremost, and not only does All the Colors of the Dark have ample amounts of both - including one of the most stunningly audacious opening scenes I have ever seen - it also fares admirably in a department which is usually lacking in this sub-genre (acting), with Edwige Fenech giving a committed performance as the film's troubled protagonist.

Film Rating: B+/A-
Scare Factor: C

View Date: 10/31
Shocktober Horrorfest View Date: #31

31 Flicks That Give You The Willies!!!

2007-10-31T12:19:00.000-04:00

Ed Hardy, Jr., of the fantastic film blog Shoot the Projectionist, had the brilliant idea to query bloggers and readers regarding the films that scared them the most. Well, the response was huge, and 183 films were nominated, many of which one wouldn't typically see on most "best-of-horror" lists. A second round of voting whittled that unwieldy list down to 31 films, one for each day of October. The end result is the first ever "Willies" list, something that I am sure will become an annual tradition.

I think the idea of a "communal" list is a wonderful spin on list making, and though I certainly disagree with some of the films that made the cut, I have absolutely no problem with the film that sits proudly at #1. I won't give it away here, so as not to spoil the fun of reading the list yourself, suffice it to say that I share Ed's high opinion of it completely. So if you're looking for another source of horror filled inspiration on Halloween, head on over to Shoot the Projectionist and check out:

31 Flicks That Give You The Willies!

Day Of The Dead (Romero, 1985)

2007-10-31T11:38:00.001-04:00

"The darkest day of horror the world has ever known."

I was simply unprepared for just how good Day of the Dead is. It was the only "Dead" film I hadn't seen before, and its reputation lagged far behind that of Night of the Living Dead and Dawn of the Dead, so i had always written it off as the least of Romero's "Dead" trilogy. But watching it immediately following a repeat viewing of Dawn... If this film isn't the equal of those first two masterpieces, it isn't that far behind. Since its disastrous release in 1985, Day of the Dead has been picking up steam, and a strong critical following. Let me assure you, this isn't simply wishful revisionism, it is happening for a reason.

Film Rating: A-
Scare Factor: C+

View Date: 10/30
Shocktober Horror Film Count: #30

Dawn Of The Dead (Romero, 1978)

2007-10-31T11:11:00.001-04:00

"When there's no more room in HELL, the dead will walk the EARTH."

Dawn of the Dead, the second, and certainly most popular installment in Romero's "Dead" series is another masterpiece of horror, every bit the equal of Night of the Living Dead. There's something about the aesthetics of the film, the late 70's style evidenced in the Monroeville mall's cavernous interior (both vast and claustrophobic at the same time), that I really love. And amidst the horror and sadness, there is a playful quality to Romero's film that is absent in every other "Dead" film. Another enduring classic.

Film Rating: A+
Scare Factor: C

View Date: 10/30
Shocktober Horror Film Count: #29

The Eye (Pang Brothers, 2002)

2007-10-30T12:27:00.001-04:00

"Some things are better left unseen."

The Pang Brothers' film, a sensation in Asia upon its release, and the recipient of quite a bit of praise here in the States, doesn't live up to its hefty reputation. Quite scary and atmospheric at times, but the brothers Pang have neither the control, nor the refinement to keep The Eye on the rails for its duration.

Film Rating: C+/B-
Scare Factor: B

View Date: 10/29
Shocktober Horror Film Count: #28

The Masque Of The Red Death (Corman, 1964)

2007-10-30T12:03:00.000-04:00

"SHUDDER... at the blood-stained dance of the Red Death! TREMBLE... to the hideous tortures of the catacombs of Kali! GASP... at the sacrifice of the innocent virgin to the vengeance of Baal!"

Corman's adaptation of Poe's classic macabre tale The Masque of the Red Death is a pleasure to behold, though much of the credit for this must go to director of photography Nicolas Roeg. The story is intelligently adapted and economically told, and Vincent Price delivers another trademark performance as the devil worshiping Prince Prospero, but it is Roeg's sumptuous, beautifully saturated images and his gliding camera work, that lend the film an air of elegance and sophistication belying its modest budget.

Film Rating: B+/A-
Scare Factor: D

View Date: 10/29
Shocktober Horror Film Count: #27

The Woman In Black (Wise, 1989)

2007-10-29T19:03:00.000-04:00

"A spine-chilling ghost story."

Herbert Wise's The Woman in Black may not have a significant reputation, but to consider its obscurity as an indication of its power to scare would be a terrible mistake. I'm in the thick of trying to cram as many horror films into the last few days of Shocktober as possible, so I don't have the time to write a more elaborate review, but I will say this, there is a scene in this film that frightened me more than any scene in any horror film I have seen in a long, long time. More thoughts coming soon...

Film Rating: B
Scare Factor: A-

View Date: 10/28
Shocktober Horror Film Count: #26

A Warning To The Curious (Clark, 1972)

2007-10-29T18:38:00.000-04:00

Lawrence Gordon Clark's A Warning to the Curious, an adaptation of M.R. James's ghost story, is a subtly effective, artfully rendered chiller that works on its audience slowly but surely. Clark has a wonderful eye and ear for the coastal town of Seaburgh (where the film's action takes place), allowing us to feel what it's like to be in a place where it's hard to discern where the beach ends and the sky and sea begin. The grainy, degraded video sourced images certainly help, evoking an ethereally creepy, old world atmosphere. There is hardly any gore and the film is resolutely un-explicit, but it is precisely because of these factors that Clark's film has aged as wonderfully as it has.

Film Rating: B
Scare Factor: B-

View Date: 10/28
Shocktober Horror Film Count: #25

Society (Yuzna, 1989)

2007-10-28T19:14:00.000-04:00

"It is a matter of good breeding. Really."

Certainly not the cult sleeper many seem to think it is, Society fails to live up to the potential of it's premise (an examination of the dark underbelly of upper class Beverly Hills society) simply because director Brian Yuzna and company think their film is far more clever than it actually is. The satire isn't quite as scathing, intelligent, or witty as it could have been, and the infamous special effects, while certainly still repugnant, are quite obvious. Still, it is an interesting and disturbing film, though it isn't hard to see why it has remained an "unknown" film in the genre.

Film Rating: C+
Scare Factor: C

View Date: 10/27
Shocktober Horror Film Count: #24

Rosemary's Baby (Polanski, 1968)

2007-10-27T14:13:00.000-04:00

"Pray for Rosemary's Baby."

What can be said about Rosemary's Baby that hasn't already been said? Not much really. Everything you've heard is true. Polanski's film is one of the few perfect horror films ever made.

Film Rating: A+
Scare Factor: B

View Date: 10/26
Shocktober Horror Film Count: #23

Season Of The Witch (Romero, 1972)

2007-10-27T13:59:00.000-04:00

"Caviar in the kitchen, nothing in the bedroom."

Released under a host of titles - Hungry Wives, Jack's Wife (Romero's preferred title), and finally Season of the Witch - Romero's "lost" film, made in between Night of the Living Dead and The Crazies, is a stunner. More sociological examination than pure horror film, it is both a fascinating time capsule and an interesting comment on marital relations and the suburban female psyche.

Film Rating: B+/B
Scare Factor: C-

View Date: 10/26
Shocktober Horror Film Count: #22

Lisa And The Devil (Bava, 1972)

2007-10-27T13:38:00.000-04:00

I can confidently guarantee one thing about Lisa And The Devil*. Watching it for the first time, no matter how intelligent you are, or how well versed in Euro-horror you are, you will be confused. You will struggle to decipher the film's nonsensical narrative, and in your attempts, you will feel like you are grasping at straws. You will also get the sense that the film is the perfect approximation of a waking dream. Mario Bava's much maligned "art horror" masterpiece is a surreal hallucination put directly to celluloid. Sure, it might not make much sense at all upon first viewing, but give the film time (and a couple more viewings) and suddenly all the puzzle pieces fall beautifully into place.

*There are two extant versions of the film. Lisa And The Devil is Bava's preferred version. The other version is titled The House Of Exorcism, and it is a completely re-edited version, made to cash in on the success of The Exorcist.

Film Rating: A-
Scare Factor: D

View Date: 10/25
Shocktober Horror Film Count: #21

The Legend Of Boggy Creek (Pierce, 1972)

2007-10-27T13:29:00.000-04:00

"A true story."

thoughts coming soon...

Film Rating: C
Scare Factor: D

View Date: 10/25
Shocktober Horror Film Count: #20

Anthropophagus (D'Amato, 1980)

2007-10-25T12:25:00.001-04:00

"It's not fear that tears you apart...it's him!"

Anthropophagus is my introduction to the exploitation cinema of Joe D'Amato, and I can't say that I'm impressed. In an interview on the DVD, George Eastman, star and co-writer of the film says, "the film was made in order to make money, there wasn't any other artistic purpose." This statement sums up the reason for the ultimate failure of Joe D'Amato's amateurish gore flick perfectly. It can't really be seen as a proper film. With such threadbare characterizations and plotting, it is more like a rather a crudely assembled collection of scenes of shocking violence. And though there are some effective, atmospheric bits and pieces, they are so few and far between that they are more likely the product of luck rather than any real skill. Watching this on the heels of Let's Scare Jessica To Death further illuminates the vast divide between quality low-budget filmmaking, and work done fast and cheap, simply to turn a buck. Considering its reputation, there is nothing really commendable about D'Amato's cult shocker, and that is quite a disappointment.

Film Rating: D+
Scare Factor: C

View Date: 10/24
Shocktober Horror Film Count: #19

Let's Scare Jessica To Death (Hancock, 1971)

2007-10-24T11:55:00.000-04:00

"Something is after Jessica. Something very cold, very wet... and very dead..."

That John D. Hancock's Let's Scare Jessica To Death isn't more commonly known and discussed is a real shame. I can't believe a film this finely tuned has escaped the general consciousness for so long. Perhaps it's simply too refined, too subtle a creature (the film certainly belies its sensationalist title) to appeal to more than just a niche audience, but whatever the case may be, do yourself a favor and discover this film now.

Film Rating: A-/B+
Scare Factor: B-

View Date: 10/23
Shocktober Horror Film Count: #18

The Entity (Furie, 1981)

2007-10-23T19:23:00.002-04:00

"A story so shocking, so threatening, it will frighten you beyond all imagination."

The Entity certainly lends credence to the notion that the unseen is far scarier than the seen. Though Sidney J. Furie's direction is by and large pedestrian, the film is overlong, and the rambling narrative takes some unfortunate turns, Barbara Hershey's brave performance and a truly scary central premise make up for much of the film's faults.

Film Rating: B-
Scare Factor: B

View Date: 10/22
Shocktober Horror Film Count: #17

The Descent (Marshall, 2005)

2007-10-22T20:37:00.002-04:00

"Scream your last breath."

Bloody brilliant. One of the best horror films of the decade.

Film Rating: A-
Scare Factor: B+

View Date: 10/21
Shocktober Horror Film Count: #16

Creep (Smith, 2004)

2007-10-22T19:49:00.003-04:00

"Your journey terminates here."

Atmosphere and an interesting locale can only take a film so far if it doesn't have a solid enough script to fall back on. Unfortunately, Christopher Smith's Creep hasn't a solid base, nor enough atmosphere to sustain the film for even half of its runtime before we start to realize that there isn't really anything there. This isn't to say Smith's film is a failure, far from it. It is simply a film that doesn't stand up well to repeated viewings.

Film Rating: C
Scare Factor: B-

View Date: 10/20
Shocktober Horror Film Count: #15

Night Of The Living Dead (Romero, 1968)

2007-10-22T11:10:00.000-04:00

"They keep coming back in a bloodthirsty lust for HUMAN FLESH!..."

It's important to revisit George A. Romero's Night of the Living Dead - fast approaching its 40th anniversary - every now and then, if only to be reminded of the limitless potential of the horror genre. A stunning marriage of brute, unflinching violence and potent allegory, Romero's film doesn't seem to have aged one bit. If anything, for me it is one of those films that keeps getting better with each subsequent viewing. The father of the modern zombie film for sure, but also a father of astute, socially conscious horror cinema.

Film Rating: A+
Scare Factor: C

View Date: 10/19
Shocktober Horror Film Count: #14

The Trailer Compendium: Vol. 11

2007-10-19T17:24:00.000-04:00

I have made mention before on this blog of my love for the cinema of Nicolas Roeg. He is a true visionary, one of the few filmmakers who seems to understand completely the immense visual power of cinema. For the second installment of the Shocktober edition of the Trailer Compendium, I present his stunning, impressionistic exercise in terror, Don't Look Now, quite simply one of the best horror films ever made and possibly the most hauntingly beautiful one. If you haven't seen it yet, do so as soon as possible.

Don't Look Now (1973):

Alice, Sweet Alice (Sole, 1976)

2007-10-19T12:44:00.000-04:00

"If you survive this night... Nothing will scare you again."

The rust around the edges of Alfred Sole's Alice, Sweet Alice (no doubt a function of its low budget) does nothing to hinder its power to disturb. If anything, Sole's 1976 oddity benefits from the lack of polish. Every element - the characters (both good and bad), the sets, the overcast New Jersey environs, the subversive employment of Catholic iconography - feels covered in an imperishable patina of grime and depravity. By the time the film arrives at its unsettling conclusion, you'll probably feel that way too.

Film Rating: B/B-
Scare Factor: B-

View Date: 10/18
Shocktober Horror Film Count: #13

April Fool's Day (Walton, 1986)

2007-10-19T11:17:00.000-04:00

"Guess who's going to be the life of the party?"

A loose and playful take on Agatha Christie's And Then There Were None (a.k.a. Ten Little Indians), Fred Walton's April Fool's Day is quite a fun little anomaly in the slasher sub-genre. With the emphasis placed refreshingly upon mystery rather than explicit violence, this is horror that doesn't leave a sour taste in the mouth, and there is certainly a place for this type of facile, diverting entertainment amongst the genre's more exploitative offerings.

Film Rating: B-
Scare Factor: C+

View Date: 10/18
Shocktober Horror Film Count: #12

The Bird With The Crystal Plumage (Argento, 1970)

2007-10-18T12:01:00.000-04:00

"If you think you are being followed home from this movie, keep telling yourself that it's all in your mind."

What surprises most about Dario Argento's first film, The Bird with the Crystal Plumage, is the sheer control Argento displays over the medium. In his first directorial outing, his visual style already seems mature and fully formed. The film is flush with beautiful compositions and stylish, inventive camera movement, and if it sometimes falls prey to meandering exposition and the occasional clumsy scene, it is still never less than enthralling. And Ennio Morricone's jazz inflected score is wonderful, the perfect aural compliment to the film's stylized aesthetic.

Film Rating: A-/B+
Scare Factor: C-

View Date: 10/17
Shocktober Horror Film Count: #11

Friday The 13th (Cunningham, 1980)

2007-10-16T11:31:00.001-04:00

"They were warned... They are doomed... And on Friday the 13th, nothing will save them."

It has spawned countless imitators and one of the longest running horror franchises of all-time, but there is no getting around the fact that Sean S. Cunningham’s influential Friday the 13th remains the least accomplished of the proto-slashers (Bob Clark's Black Christmas and John Carpenter's Halloween included). This is plain-Jane filmmaking, an obvious, workmanlike stab at entertainment first and foremost, lacking a distinct visual style and populated by stock characters and situations. It is also unpretentious, nostalgic fun, possessing a handful of genuine scares, still fantastic gore f/x, and a terrific score. In retrospect, iconic status and a killer ending can do quite a lot to cloud the memory, and though Cunningham’s film is a classic more through influence and reputation than through virtuosity, its place amongst the most beloved and perennial of horror films is more than guaranteed.

Film Rating: B-
Scare Factor: C+

View Date: 10/15
Shocktober Horror Film Count: #10

The Other (Mulligan, 1972)

2007-10-15T09:51:00.001-04:00

"Holland, where is the baby?"

Robert Mulligan’s bucolic, sunlit chiller The Other exhibits none of the symptoms of the violent disease plaguing contemporary horror, which is to say it is a subtle, contemplative work as far removed from the “Sturm und Drang” graphic excesses of the genre as is cinematically possible. Adapted by Tom Tryon from his eponymous novel, it is an ambiguous, atypical work in a genre oft-characterized by typicality, one that unearths a horror far more affecting, far more difficult to grasp, and thus far more disturbing than anything that can be achieved with buckets of blood.

In a choice unusual for a horror film, Mulligan and cinematographer Robert Surtees bathe the film in almost constant golden light. Set on a Connecticut farm during summer, the beautiful environs seem to suggest a film with little potential to scare. Yet, one soon realizes that these sun-soaked surroundings serve as a foil for the site of the film’s horror. Mulligan locates his horror in interiors, in the places where light must strain to reach – the barn, the cellar and the well – and ultimately in a place where light cannot go – the mind. For such a bright film, The Other is interminably dark.

Film Rating: A-/A
Scare Factor: B+

View Date: 10/10
Shocktober Horror Film Count: #9

Lady In White (LaLoggia, 1988)

2007-10-10T01:27:00.000-04:00

"The year is 1962. The place is Willowpoint Falls. Nobody talks about what happened in the school cloakroom 10 years ago. Now, in the dead of night, Frankie Scarlatti is going to find out why."

A refreshingly old fashioned ghost story, and a charming coming-of-age tale tinged with nostalgia and wonderfully told from a child's eye view. Much of the film's success must be credited to the empathy and respect LaLoggia displays towards his child actors, which in turn elicits honest, heartfelt performances, especially from Lukas Haas in the film's lead role. Blessed with an earnestness that makes it a pleasure to experience, Lady in White is a hard film to dislike.

Film Rating: B/B+
Scare Factor: C-

View Date: 10/9
Shocktober Horror Film Count: #8

Tourist Trap (Schmoeller, 1979)

2007-10-08T12:47:00.000-04:00

“Every year young people disappear.”

As is so often the case with horror cinema, a good horror film doesn’t necessarily equate with a good film. In a phenomenon particular to the horror genre – a phenomenon ensconced in the genre’s extreme valuation of a “bottom line” – good acting, narrative coherence, and refined direction are rather dispensable qualities. In the end, a horror film’s reputation, its standing, if you will, depends on its ability to scare, its capacity to disturb the mind and set the heart racing. For this reason, it isn’t hard to comprehend why David Schmoeller’s Tourist Trap remains a fairly well regarded work (within the horror community) in spite of its numerous ineptitudes.

Tourist Trap seems a familiar film when discussed in broad terms. It depicts a group of college-age kids trapped in a strange place, terrorized by a masked man, and killed one by one. Released in 1979, sandwiched between John Carpenter’s archetypal Halloween (1978) and Sean S. Cunningham’s influential Friday the 13th (1980), it is rather enticing to lump Schmoeller’s film in with these exemplars as part of the 80’s slasher cycle. However, such comparisons remain apt only at a surface level, for although Tourist Trap’s narrative template suggests a strong relation to slasher cinema, Schmoeller has created a film that operates far outside the precise and restrictive boundaries of that much loved sub-genre.

In place of the brazen sexuality, gruesome violence, and formulaic predictability that have come to define the slasher film, an unmistakable surfeit of bizarreness marks every inch of Tourist Trap. Everything from Pino Donaggio’s eclectic, effectively creepy score (a strange amalgamation of instruments and dissonant vocal fragments), to Chuck Connors’s unhinged performance (an audacious attempt at late-stage career redefinition), to the disturbingly rigid (and later on not so rigid) mannequins, to Schmoeller’s willful, baffling commingling of incongruous horror references (Carrie, The Texas Chain Saw Massacre, House of Wax), suggests Schmoeller’s attempt to root audience fear in the film’s connective tissue, its eerie atmosphere, rather than in increasingly extravagant murder set pieces.

Unsurprisingly, it is in these peculiarities that the film’s true value is located. Schmoeller generates fear with his environment, through an unsettling collage of disembodied sounds and grotesque facades that stay with you long after the film ends. Importance is placed upon the process by which we arrive at the film’s relatively few deaths, rather than upon the deaths themselves, forcing us to pay attention to the pervasive, distressing details of the environment. Collectively they generate an eerie, macabre ambiance so thick and unyielding that Tourist Trap remains frightening and at times even threatening despite the absence of any real gore and the low body count. Partially obscured by the heavy fog of terror are the elements that conspire to sink the film, namely the amateurish acting (save, of course, for Connors) and the many ridiculous logical inconsistencies. And though the film is a crude, flawed, easily ridiculed mechanism with all the subtlety of a jackhammer, it is certainly unique and strangely effective. Not to mention it’s got a killer final shot.

Film Rating: C+/B-
Scare Factor: B

View Date: 10/7
Shocktober Horror Film Count: #7

The Trailer Compendium: Vol. 10

2007-10-06T14:11:00.000-04:00

In keeping with the first annual Shocktober Horrorfest, every Trailer Compendium this month will showcase a different horror film (or two, or three) ranging from horror staples to lesser known sleepers. Also, in a first for the Trailer Compendium series, I thought it would be fun to run each film's original theatrical poster along with it's trailer. So without further ado, I present to you one of my favorite "haunted house" chillers of all time, featuring a screenplay by the great Richard Matheson, John Hough's The Legend Of Hell House. Enjoy!

The Legend of Hell House (1973):

Carrie (De Palma, 1976)

2007-10-05T14:05:00.001-04:00

"If only they knew she had the power."

Brian De Palma’s screen adaptation of Stephen King’s novel Carrie is a rare film that looses none of its considerable poignancy or visceral power from viewing to viewing and thus, is probably as effective a film as it was 31 years ago. A stunningly orchestrated, stylistically audacious study of female adolescence, teenage insecurity, and religious hysteria, this is without a doubt one of the best horror films ever made. Simply transcendent.

Film Rating: A+
Scare Factor: A-

View Date: 10/5
Shocktober Horror Film Count: #6

Poltergeist (Hooper, 1982)

2007-10-05T13:56:00.001-04:00

"They're here."

Seeing Poltergeist in theaters (at a special screening celebrating the film's 25th anniversary) was a complete blast, and Hooper's film feels like the same piece of effective, light (and "Spielbergian") entertainment it must have been back in 1982. A clunky, endearing haunted house ride that efficaciously blends humor with horror.

Film Rating: A-/B+
Scare Factor: B-

View Date: 10/4
Shocktober Horror Film Count: #5

Freaks (Browning, 1932)

2007-10-04T18:50:00.001-04:00

"Can a full grown woman truly love a MIDGET?"

Though its power to shock and repulse (it was banned in the U.K. for 30 years) has no doubt waned significantly over the 75 years since its release, Tod Browning’s Freaks, one of the pillars of American horror cinema, remains a seminal genre text. It’s a shame that Browning’s film, saddled with one of cinema’s most enduring reputations, continues to be remembered predominantly for its shock value, for it is a film of considerable depth and surprising modernity.

Contrary to conventional opinion, Freaks is exceptional not for its shock value (though its climax remains horrifying), but rather for the economical sprawl of Browning’s direction (though it runs a scant 62 minutes, behind the veneer of its genre storyline, Freaks reveals itself as a condensed tableaux of circus life, intermingling many separate lives) and for its deeply felt pathos. A tragic chronicle of misplaced love, betrayal and revenge, it is quite an affecting experience.

Perhaps the true value of revisiting Browning’s notorious tale is the opportunity to approach such an established film (and the established critical notions that come with it) with fresh eyes, to perceive it with a fresh mind, and to see what many audiences have failed to see.

Film Rating: A
Scare Factor: C+

View Date: 10/3
Shocktober Horror Film Count: #4

Lemora: A Child's Tale Of The Supernatural (Blackburn, 1973)

2007-10-03T20:46:00.001-04:00

“We are one and the same, and until you realize that, you can never be happy.”

The Vampire mythos has served as one of the foundations of cinematic horror from its very beginnings. Since his debut in F.W. Murnau’s seminal horror masterpiece Nosferatu, the most famous screen vampire, Count Dracula, has appeared in countless film and television productions. Despite the incredible proliferation of vampirism in cinema, I am certain that there has never been a Vampire film quite like Richard Blackburn’s Lemora: A Child’s Tale of the Supernatural.

An undeniable cult item – the film received only a limited theatrical release in 1975, two years after its completion, was banned by the Catholic League of Decency, and languished in obscurity for nearly two decades until it was released on video in the mid-90’s – Lemora thrills in the way that only a cult item can. An initial viewing of Blackburn’s film, bathed in ethereal midnight blues and inky blacks (punctuated occasionally by blasts of blood red), is invariably accompanied by a sense of discovery, the feeling of unearthing cinematic “buried treasure.”

A vampire film with a stark lesbian undercurrent, steeped in Catholicism, and filtered through the prisms of Freudian & Lacanian psychology, Lemora is a startlingly original creation. Set in the prohibition era, the film follows the virginal 13-year-old “singing angel” Lila Lee (Cheryl Smith) on a macabre odyssey to see her dying gangster father in the mysterious town of Asteroth (one of the film’s highlights is the sinister bus ride to the aforementioned town). A strange, Southern Gothic fever dream (the film has been aptly described as an adult fairytale) and a sly, potent allegory of sexual repression and awakening (not to mention gender politics), Blackburn’s film (his only directorial effort) is a truly singular, visionary work of horror cinema.

Now, before I go too far, or indulge myself in hyperbole, a bit of honesty is in order. Those of you lacking a fair bit of experience with horror cinema, and probably more pertinently low-budget filmmaking, may not appreciate Lemora to the same degree as I do. It is, without a doubt, a cheaply made film, as evidenced by the shoddy (though strangely creepy) make-up effects. And excepting Smith, who, as the protagonist Lila, glides through the film with a hypnotizing somnambulant grace, concessions must be made for the crude performances.

It is a testament then to the strength and persistence of Blackburn’s vision, that in the face of these noticeable shortcomings, Lemora still emerges as an exceptional film, one that only engenders greater esteem in retrospect. Budgetary constraints never seem to get in the way of the film’s lofty aspirations, and though Blackburn only rarely taps directly into our fear nerve, the bizarre and pervasive ambiance he orchestrates floats like a spectre in the mind. The world he creates generates a brilliant sense of unease and uncertainty, and this is the film’s true accomplishment. In the final analysis, Lemora remains as ambitious and unusual an entry into the horror pantheon as you are ever likely to find.

Film: A-/B+
Scare Factor: C-

View Date: 10/2
Shocktober Horror Film Count: #3

The Little Girl Who Lives Down The Lane (Gessner, 1976)

2007-10-02T19:32:00.000-04:00

"Ask Her No Questions And Nobody Dies."

Nicholas Gessner’s The Little Girl Who Lives Down the Lane is a peculiar film, the type of unclassifiable genre effort – is it horror? suspense? a love story? – that simply isn’t made anymore, which is a real shame. Despite its schizophrenia, or perhaps because of it, 31 years after its release, the film remains interesting and compulsively watchable.

Of course, instantly, the most noteworthy aspect of the film is the presence of Jodie Foster, who plays the titular “girl” Rynn, a young girl hiding a dark secret, living in a small town with her curiously and conveniently absent poet father (“he’s translating in his office and doesn’t want to be disturbed,” “he’s off to New York to see his publisher”). Perhaps unsurprisingly, Foster delivers a fantastic and layered performance, channeling emotions not many 13-year-old actors can, in a role perfectly tailored to the precocious persona that characterized her early acting work.

Yet, it is Foster that I was least enamored with, for as strong as she is in her role, she is simply part of a greater, infinitely more interesting whole. What truly caught me off balance was the idiosyncratic nature of the film, specifically Gessner’s decision to play against any preconceived notions the audience might have. Distributed under the American International Pictures banner, Roger Corman’s legendary cheapie film label, the film’s storyline is ripe for exploitation - a young girl, alone in a house where the doors seem to be perpetually unlocked – yet none of the situations are exploited, and one can sense the respect Gessner has for his young characters. Though there are certainly subversive and taboo elements at play (pedophilia and underage sex) they are handled in a serious manner atypical of AIP’s usually gratuitous offerings. Forgoing camp, the film handles its adult themes subtly and seriously. Martin Sheen taps into deeply unsettling territory in his menacing portrayal of the pedophile Frank Hallet. On the other hand, the underage romance of Foster and Scott Jacoby, who plays a crippled teenager, is touching and heartfelt.

Admittedly, The Little Girl Who Lives Down The Lane occupies the fringes of the horror genre, though you shouldn’t take this statement as a criticism. Although it frightens more conceptually, upon reflection, than it does in an immediate sense, with this film, Gessner has crafted a rare, low-budget gem, a film far removed from what its origins, title, and subject matter might suggest. Where others would go for sensationalism, Gessner has crafted an intriguing, subtly frightening character study, so unusual in its pacing, tone and narrative choices that I am surprised the film was made even back in 1976.

Film: B+/B
Scare Factor: D-

View Date: 10/2
Shocktober Horror Film Count: #2

The Serpent And The Rainbow (Craven, 1988)

2007-10-02T15:48:00.000-04:00

"Don't bury me...I'm not dead!"

In my experience (namely through personal conversations, message boards, and reading criticism), amongst those enamored with horror cinema there seem to be two prevailing opinions regarding Wes Craven. He is either a modern master of the genre, or an overrated hack and mediocre craftsman who has managed a couple of good films. Although I must admit to not having seen all of Craven's films, if my own opinion of the man falls somewhere in between those two admittedly extreme positions (albeit tending more towards the former), then his 1988 film The Serpent and the Rainbow certainly reinforces my sentiment.

Craven once again returns to the territory of dreams, a theme quite central to his best work to date (A Nightmare On Elm Street), this time situating his story in Haiti's strife-torn voodoo landscape. Adapted from Wade Davis's eponymous novel (reputedly a true story), the film tells of an American anthropologist (played by Bill Pullman) sent to Haiti by a pharmaceutical company to investigate the existence of a drug that has the ability to bring people back from the dead, to create "zombies."

The Serpent and the Rainbow is a resolutely mature horror film, a slower, story oriented exercise that succeeds precisely because of Craven's refusal to rely on cheap scare tactics. Instead, the horror is derived from Haiti itself. Craven wrings a palpable atmosphere of escalating dread from the foreignness of the Haitian culture and locale. The brilliance of this understated work is that the natural aspects of the story (the brutality of the secret police) are as horrifying, if not more so, than the fantastical, supernatural aspects. This certainly stands as one of Craven's stronger films, a mature work that does not, for the most part, pander to more simplistic horror tastes. It is all the more unfortunate then that the films climactic scenes lapse into cliché, but on the strength of everything that comes before, this can be forgiven.

Film: B/B+
Scare Factor: B+

View Date: 10/1
Shocktober Horror Film Count: #1

The 1st Annual Shocktober Horrorfest!!!

2007-10-02T13:50:00.000-04:00

Hello again! First off, I have to apologize for my incredibly long and unannounced absence from Direct Cinema. My last post was over one month ago on August 23 (wow, has it really been that long?!) and I sincerely apologize once again for leaving you all out in the cold so to speak. I have had quite a full plate apart from running this blog, and my other duties have kept me away from posting regularly. But fear not (bad pun I know, though quite intended), beginning today I am resuming my post at Direct Cinema, which means the return of regular, daily (and hopefully even more frequently than that) posting. And to kick things off, for the entire month of October, I, like many of my online colleagues, will be doing a Horrorthon. The title I have bestowed upon my marathon is the Shocktober Horrorfest. The concept is a simple one. Every day, from today until Halloween, I will watch and subsequently review a new horror film. These reviews will range anywhere from short capsule reviews to longer, in-depth studies, depending on how the film strikes me. I'll also be putting up a Horrorfest sidebar with easy access to every review in the series. I have been doing an annual October horror marathon for three years now (this will be the third) but this marks the first time I have ever blogged about it. It is my hope that those of you who read my blog will discover hidden gems, rediscover and revisit old classics, and if you don't already, come to appreciate horror films.

Now, just a few more words about myself before we begin. I have been a horror fanatic since the day I started watching film. It seems to run in my blood. My father enjoys the genre tremendously, whereas my mom abhors the genre, so I guess I know whose genes I inherited. There is something about horror, beyond its visceral, primal appeal, that separates it from every other genre. It is such a limitless genre. A genre with an intrinsically limitless potential to tell so many different stories, the potential to carry so many layers of subtextual, metaphorical and allegorical meaning. Yet, horror can also succeed without any of those things, with just a simple, uncomplicated heaping of blood and nudity. Horror is truly an onion, with so many different layers, and I invite you to come along with me as I attempt to peel away at it. So be sure to check in frequently for your daily dose of horror, and most importantly... Enjoy!

PS. Please feel free to comment on my reviews and get a discussion going. Also I will be taking any suggestions, so if you have a horror film you'd like to see reviewed, send it my way!

Shocktober Horrorfest '07
10/1:
The Serpent and the Rainbow
10/2:
The Little Girl Who Lives Down the Lane
Lemora: A Child's Tale of the Supernatural
10/3:
Freaks
10/4:
Poltergeist
10/5:
Carrie
10/7:
Tourist Trap
10/9:
Lady in White
10/10:
The Other
10/15:
Friday the 13th
10/17:
The Bird with the Crystal Plumage
10/18:
April Fool's Day
Alice, Sweet Alice
10/19:
Night of the Living Dead
10/20:
Creep
10/21:
The Descent

Pitt's Jesse James Gets A Full Trailer In HD

2007-08-23T19:36:00.000-04:00

A new, high-definition trailer for Andrew Dominik's gloriously titled western The Assassination Of Jesse James By The Coward Robert Ford recently went up at Moviefone.com and it is a real thing of beauty. The film stars Brad Pitt and Casey Affleck in the titular roles, and some who have seen the film in its myriad early forms have touted this film as a real breakthrough for Affleck, considering his performance Oscar worthy.

More interesting though, are the reports of the post-production difficulties Warner Brothers has had with Dominik's film, which was first slated for a winter 2006 release, pushed back to an early 2007 release, and pushed back once more to it's current winter 2007 release. The initial cut reportedly ran over three hours long, with Dominik attempting a more languidly paced, visually poetic, Terrence Malick styled western. Since then, the film has gone through various permutations, with some preview screening cuts running around two hours long. According to the official website of the 64th Venice Film Festival, where the film is slated to play in competition, the final run time is 155 minutes. Hopefully Dominik and Warner Brothers were able to find a happy medium between the extreme variations in runtime that have been reported. The film opens in limited release on September 21.

Miike Goes Sci-Fi With "God's Puzzle"

2007-08-20T09:01:00.000-04:00

Variety Asia is reporting that the prolific Takashi Miike will make God's Puzzle (Kamisama No Puzzle) his next project. The film, based on a bestselling novel by Shinji Kimoto, centers on twin brothers, one an industrious student, the other an aimless drifter, who join forces with a beautiful, brilliant dropout and attempt "to unlock the secrets of the universe and build one of their own." The project is described as a sci-fi romantic comedy. Though Miike will undoubtedly bring his unique touch to the film, I'm still hoping that he eventually tries his hand at pure science fiction. Filming on God's Puzzle is set to start on August 22 in Tokyo with a summer 2008 release planned.

Hot Fuzz (Wright, 2007)

2007-08-08T11:56:00.001-04:00

The decision of director Edgar Wright and star/co-writer Simon Pegg to save the most prominent and overt instances of parody for the hilarious climax of Hot Fuzz is revealing of their intentions for the film, and is also the key to understanding the film’s success as a comedy. Of course, Hot Fuzz is a witty, often times laugh out loud funny, comedic primer on action cinema, densely peppered throughout with references to everything from (most blatantly) modern American action films, to Italian Poliziotteschi, to Hong Kong action films. However, it is more than this. The real pleasure of the film, the reason it succeeds in a manner above and beyond films of this ilk, is that the hilarity stems from a true knowledge and appreciation of the action film, but it doesn’t depend on it. Wright and Pegg play with their references intelligently, weaving them seamlessly into a coherent, freestanding narrative, utilizing them not to carry the film, but rather to enrich it. Thus, Hot Fuzz succeeds in its own right and never degenerates into a patchwork assemblage of parody and homage.

Rescue Dawn (Herzog, 2006)

2007-08-03T11:17:00.000-04:00

Many have called Rescue Dawn Werner Herzog's attempt at making a Hollywood film, and though it hems closer to the conventional Hollywood formula than any previous Herzog film, that statement is tinged by a bitter sense of reductivism. Herzog isn't simply aping Hollywood techniques, but rather slyly subverting them. The established three-act story arc is thrown out in favor of a more stream of events structure, and though they may be employed more sparingly, the Herzogian touches are still present, namely in the rhapsodic opening scene and the film's second half, which touches upon the theme of man versus nature, a theme Herzog knows all too well. This is an exceptional film, one of the best of the summer, and possibly even the year. Once again, Christian Bale is spectacular as Dieter Dengler, showcasing maybe his finest performance yet and Steve Zahn's performance is a revelation, especially considering his past body of work.

Michelangelo Antonioni, 1912-2007

2007-07-31T10:14:00.000-04:00

Not yet another day, and already another lion of the cinema has left us. The news is almost too sad to bear. Italian auteur Michelangelo Antonioni, one of the true cinematic artists, died Monday at his home in Rome according to various Italian news media outlets. This news hits me particularly hard, as Antonioni is a filmmaker whose work, whose visual style, has influenced my own creative process and aesthetic taste immeasurably. There are many who consider the films of Antonioni cold, vague exercises. Pure examples of art house pretension. I strongly disagree. Of course, his films are works of true beauty. Blow-Up, L'Avventura, L'Eclisse, The Passenger, each of these I would rank as amongst the most hauntingly beautiful, meticulously composed films ever made, and also amongst my personal favorite films of all time.

Yet Antonioni, for all who would condemn him as a simple aesthete, truly understood, more so than any other filmmaker, human alienation. It courses, like a haunted, disembodied soul, through his films. I will write no more, as I am truly at a loss for words. I need some more time to come to terms with this. In the meantime, if you have never seen an Antonioni film, what better time than now to introduce yourself to one of the most pure artist of the film form. Antonioni, you will be deeply missed.

Obituary @ New York Times
An Analysis of Antonioni's Career (Senses Of Cinema)
Critical Analysis of Selected Film Works (Strictly Film School)

Ingmar Bergman, 1918-2007

2007-07-30T09:59:00.000-04:00

Ingmar Bergman, one of the true pillars of cinema, passed away today at his home on the Swedish island of Faro. He was 89 years old. There is an extensive obituary over at the New York Times. Although Bergman certainly lived a long and full life, this is still extremely saddening news. One of the true giants, a pillar of the cinema, has left us, and I believe I am safe in proclaiming that there will never be another filmmaker quite like Ingmar Bergman. One glimpse at the Swedish auteur's filmography is enough to confirm both that statement and his indisputable genius. Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, The Virgin Spring, Cries and Whispers, Autumn Sonata, Fanny and Alexander, and my personal favorite, the metaphysical, enigmatic Persona, the list goes on and on. In his work, he combined an intense intellectual, formalist rigor with a passionate, probing religiosity (though he denounced religion in his own life). In the hands of a lesser talent, such a combination could have easily resulted in works dramatically stale and overwrought. In the hands of Bergman, the cinematic landscape was forever altered. Bergman will be missed dearly, but thankfully, he has left behind a tremendous body of work that can continue to be explored and discovered.

"Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls."*
-Ingmar Bergman

*as quoted in "Ev'ry Time We Say Goodbye" by John Berger, Sight and Sound (June 1991)

Obituary @ The Washington Post
The Radical Intimacy Of Bergman (Senses Of Cinema)
An Analysis of Selected Film Works (Strictly Film School)

Haneke's Next Is Teacher's Tale

2007-07-27T12:19:00.000-04:00

Michael Haneke, the Austrian auteur behind the brutal, confrontational Funny Games (he just recently wrapped work on the English language remake starring Naomi Watts and Tim Roth), and Caché, my second favorite film of 2005, has announced his next film. According to Variety, Haneke will film The White Tape or the Teacher's Tale, a film to be set just before World War I in a Northern German village. The Variety story doesn't go into any more detail regarding the film's plot, but a search of the IMDb boards sheds a bit more light on the film, describing it as being "story centered in a school in a little village around [the] beginning of World War I."

M (Lang, 1931)

2007-07-25T14:57:00.001-04:00

Only the second Lang film I have seen (the other being Lang's equally masterful though completely different Metropolis), thus my limited knowledge of Lang's particular themes and motivations precludes me from undertaking a more extratextual analysis. In this case however, the film's 117 minutes are so dense (with symbolism, cinematic technique, aesthetics, meaning) a more hermetic analysis doesn't seem restricting in the least. Upon first viewing, I am struck by the incredibly modern sensibility that runs throughout, and the deft combination of procedural, social message and ironically least of all thriller. It is amazing that this was Lang's first sound film. A work that surely stands the test of time, and worthy of every bit of effusive praise it has received. Easily one of the greatest films of all time. A masterpiece. IMDb listing. Detailed thoughts soon...

The Trailer Compendium: Vol. 9

2007-07-19T00:57:00.000-04:00

Two of the finest films based upon the tale of King Arthur and his knights, Robert Bresson's Lancelot du Lac and John Boorman's Excalibur exemplify one of the most pleasurable qualities of cinema, the ability for a single subject to be approached and examined in vastly divergent ways. Bresson's film is a spare and brutal dismantling of the Arthurian legend, while Boorman's film is an epic, fantastical exaltation of it. And though these two films surely occupy opposite ends of the cinematic spectrum, they are, odd as it may seem, wonderful companion pieces, illuminating both each other and the vast communicative space of cinema. Enjoy!

Lancelot du Lac (1974):

Excalibur (1981):

The Rapture (Tolkin, 1991)

2007-07-09T11:55:00.000-04:00

I must admit I'm not quite sure what to make of Tolkin's challenging, unsettling film. Overly ambitious in intent, it straddles the line between underappreciated masterpiece and esoteric curio. But despite the schizophrenic response it engenders, it is also an undeniably singular filmic experience, at once starkly inaccessible and fascinating. As a study of religious extremism through the lens of born-again Christianity, Tolkin's film excavates powerful questions, reminding of the spiritual/corporeal contradictions and struggles evident in not just Christianity, but all religion. Ultimately, the film buckles somewhat under its immense aspirations. And though it isn't a horror film in the traditional sense, I must say that parts of The Rapture lingered with me long after viewing and scared me more than any horror film I have seen in a long time.

52 Pick-Up (Frankenheimer, 1986)

2007-07-09T11:24:00.000-04:00

52 Pick-Up isn't quite the hidden gem I was hoping it would be. In my estimation it is more like 1/3rd of a hidden gem, which is almost worst than if it had been completely, irredeemably bad. The film starts off promisingly. Frankenheimer seems in complete control of Elmore Leonard's lurid, sleazy prose, and Jost Vacano's cinematography is captivating in its fluidity. There is a certain unsophisticated pleasure to be found in the brooding atmospherics of this infidelity cum revenge tale. Unfortunately, nearly all of the lurid ambiance and pulpy style Frankenheimer and Leonard build up in the film's opening third are squandered by the time we reach the film's ridiculous climax, and we are left with a film completely detached from its initial self, a film inhabiting that strange 80's action film netherworld where every nonsensical move must be punctuated by over the top theatricality and cartoon violence. The best thing about the film is John Glover's turn as bad guy Alan Raimy. He speaks with a wonderfully strange cadence and articulation perfectly suited to Leonard's seedy dialogue.

Edward Yang, 1947-2007

2007-07-02T20:25:00.000-04:00

Filmmaker Edward Yang, one of Asian cinema's true auteurs and the father of New Taiwanese Cinema, died Friday at the age of 59 from colon cancer. There is a nice piece in remembrance of Yang over at the Village Voice. At the time of his death, Yang was working on an animated film budgeted at $25 million called The Wind, which would have curiously pared him with Jackie Chan. Many have noted that Yang was severely underrepresented here in the West. If one considers the gulf between talent and recognition, then he might be the most unjustly underrepresented filmmaker of all time. Though I have not had the chance to see all of Yang's films, I have seen what I believe to be his undisputed masterpiece, A Brighter Summer Day. A staggering, honest and beautiful work, an intimate epic, it is one of the best films of all time. If ever you get the chance to see it (most likely at a film festival) do not hesitate. One of the great tragedies in cinema is that this film, along with much of Yang's work, isn't widely available on any home video format. Fortunately, his final film Yi Yi, which won the Best Director prize at the 2000 Cannes film festival, is available on a fantastic DVD from Criterion. If you haven't seen this film, and even if you have, I urge you to go watch it.

Obituary @ New York Times
Obituary @ Variety Asia
A Fantastic Analysis of Yang's Work (Senses Of Cinema)
An Analysis of A Brighter Summer Day (Strictly Film School)

Kill Me Again (Dahl, 1988)

2007-06-29T11:11:00.001-04:00

The first film in Dahl's loose trilogy of modern noir, Kill Me Again is minor noir to be sure, but it is far more intelligent than it might initially seem, predominantly due to Dahl's acute awareness and playful manipulation of noir conventions. It is quite obvious that Dahl has a love for the genre, and though the plot is nothing new, at times quite threadbare, the enjoyably absurd internal logic and lack of pretension are quite refreshing. The cast is uniformly game, with an able Kilmer as the put-upon private eye, but it is Whalley (then Whalley-Kilmer) who steals the show as the hard-boiled femme fatale. Further evidence that the Midwestern United States is aptly suited to film noir.

Wes Anderson's "The Darjeeling Limited" To Open 45th New York Film Festival

2007-06-28T16:16:00.000-04:00

The Film Society of Lincoln Center announced today an interesting quartet of films that will be playing at this years New York Film Festival. According to The Hollywood Reporter, Wes Anderson's latest comedy The Darjeeling Limited will open the 45th NYFF. I have attended the festival for the past three years, and unlike many festivals, which tend to open with good albeit less challenging films, the NYFF always seems to reserve the opening-night slot for something special. Previous opening-night films at the fest include Mystic River, Good Night, and Good Luck, and most recently The Queen. Commenting on Anderson's film, Richard Pena, president of the NYFF selection committee said, "It represents a big step for Wes. I hate to use the word 'matured,' but the humor and whimsy he uses is sharper, better focused and used more effectively."

The selection committee also announced that Joel and Ethan Coen's No Country For Old Men, a sensation at this years Cannes Film Festival, will be the festival's Centerpiece film, and that Cannes Palme D'Or winner 4 Months, 3 Weeks and 2 Days, and Secret Sunshine (winner of the best actress award at Cannes) will also be featured. The full lineup will be announced in early August, and the festival will run from Sept. 28 to Oct. 14.

Shinoda's "Silence" On DVD

2007-06-28T11:52:00.000-04:00

Masahiro Shinoda's 1971 film Silence is coming to DVD on the Masters of Cinema label, the British equivalent of the Criterion Collection. No definitive release date has been set, but it is slated for 2007. This is incredible news for me, as I have been seeking out this film for some time now. There is a Japanese DVD available, but with the Masters of Cinema DVD we can expect a pristine audio/visual presentation and a wealth of supplemental material. For those of you unfamiliar with the film, it is about two 17th century Portuguese missionaries who travel to Japan and witness the widespread persecution Christianity. Silence was nominated for the Palm D'Or at the 1972 Cannes Film Festival. Shinoda's body of work includes some real masterpieces (Assassination, Double Suicide, Under The Blossoming Cherry Trees), and he is deserving of far more recognition than he is given. Yet, like many Japanese New Wave filmmakers, his films are sorely underrepresented on DVD in the West, so any opportunity to catch one of his films should be taken advantage of. I've said it before, and I'll say it again, this is another great reason to invest in a region free DVD player.

Interestingly, Martin Scorsese has long expressed a desire to do a film based on the Shusaku Endo novel that also served as the basis for Shinoda's film. He has written an adaptation with Gangs of New York scribe Jay Cocks, and as of now, the film is set to go into production sometime in 2008. At the very least, if Scorsese's film ever gets off the ground, hopefully it will engender more interest in this film. And it will certainly be interesting to see how different Scorsese's take on the material will be.

Silence (Chinmoku) @ IMDb
Masters of Cinema Series Website
Silence (1966 novel by Shusaku Endo) @ Wikipedia

Cronenberg's "Eastern Promises" Trailer In HD

2007-06-28T10:38:00.000-04:00

The cinema of David Cronenberg has always fascinated me. There is a boldness and a wholly anomalous sensibility to his films that continues to strike a chord with me. The trailer for his latest film, Eastern Promises, has just recently been released, and again, I am fascinated.

According to IMDb, the film "follows the mysterious and ruthless Nikolai (Viggo Mortensen), who is tied to one of London's most notorious organized crime families. His carefully maintained existence is jarred when he crosses paths with Anna (Naomi Watts), an innocent midwife trying to right a wrong, who accidentally uncovers potential evidence against the family. Now Nikolai must put into motion a harrowing chain of murder, deceit, and retribution."

From the looks of it, Cronenberg has once again abandoned the overt, visceral surrealism of his earlier forays into "body horror" in favor of a more psychological, realistic approach. This, along with the return of Mortensen, lends to the feeling that Eastern Promises will be an interesting companion piece to A History of Violence.

High Definition Trailer @ Yahoo! (Quicktime)

Local Hero (Forsyth, 1983)

2007-06-27T18:52:00.001-04:00

Forsyth’s film is an unassuming, heartwarming treasure possessed with a certain indescribable, intangible, though unquestionably palpable magic that radiates from every single frame. Forsyth demonstrates skillful restraint in his handling of the material, which never lapses into overt sentimentality and never falls victim to its own quirkiness, and the film is a joy precisely because of Forsyth's ability to capture the subtle, introspective rhythms of life that so few films capture. IMDb listing. Expanded thoughts coming soon...

The Ten Best Films Of 2005

2007-06-26T10:57:00.000-04:00

1.   Café Lumière (Hsiao-hsien Hou, Japan/Taiwan)
2.   Caché (Michael Haneke, France/Austria/Germany/Italy)
3.   The New World (Terrence Malick, United States)
4.   The Intruder (Claire Denis, France)
5.   Tony Takitani (Jun Ichikawa, Japan)
6.   Tropical Malady (Apichatpong Weerasethakul, Thailand, France, Germany, Italy)
7.   Nobody Knows (Hirokazu Koreeda, Japan)
8.   A History Of Violence (David Cronenberg, Germany/United States)
9.   Last Days (Gus Van Sant, United States)
10. Broken Flowers (Jim Jarmusch, United States, France)

*list based on U.S. theatrical release date

First Trailer For "Margot At The Wedding"

2007-06-21T17:30:00.000-04:00

My introduction to Noah Baumbach's directorial work came at the 2005 New York Film Festival, where his film The Squid and the Whale became not only one of my favorite films at the festival, but also one of my favorite films of that year. I have been anticipating his follow up ever since, and today Moviefone has posted the exclusive first look at his next film, Margot at the Wedding. The cast is quite interesting, with Nicole Kidman, Jennifer Jason Leigh, an unusually restrained Jack Black, and John Turturro. And the involvement of cinematographer and Gus Van Sant favorite Harris Savides (Gerry) guarantees a beautiful looking film. It seems that Baumbach has fashioned another intelligent, low-key look at familial dysfunction. The film is set for a limited release on October 12.

Margot at the Wedding Trailer @ Moviefone

Real Life (Brooks, 1979)

2007-06-20T21:08:00.000-04:00

Brooks's debut feature solidifies my burgeoning belief that his directorial work represents some of the most intelligent, most sophisticated, and of course funniest, American comedy in existence. In Real Life, he plays a filmmaker named Albert Brooks, who sets out to film a "real" family over the course of an entire year. His belief is that the human drama of everyday life will make for a more truthful and exciting film than anything Hollywood could produce.

The result of (both) Brooks's efforts is a prescient and delightfully reflexive examination of the hypocrisies intrinsic to filming so-called "reality," and serves as evidence that Brooks's trademark wit was fully formed from the outset. Inspired by "An American Family," the 1973 PBS show considered the first reality TV show, Real Life is to a certain extent parody, though it is parody of a more insightful, ambitious form. If for nothing else, see this film for the "Ettnauer 226XL," quite simply one of the most ingenious comedic devices of all time.

Brief Impressions: Stormy Monday (Figgis, 1988)

2007-06-20T19:27:00.001-04:00

Figgis's jazzy riff on the crime film is wonderful to behold. Roger Deakins captures the rain-soaked, neon tinged Newcastle milieu beautifully, with his work here reminiscent of the French Cinéma du look movement of the 80's (Diva, Subway). Yet, Figgis's minimalist neo-noir lacks narrative substance and ends up relying too heavily on mood to sustain itself. The most fascinating element of the film, the ambitious and commendable effort made by Figgis to convey much of the narrative in purely visual terms, is also responsible for the film's disjointedness and for the distinct aftertaste of superficiality. IMDb listing.

Oshii's "The Sky Crawlers" In 2008

2007-06-20T17:12:00.000-04:00

Mamoru Oshii, director of the landmark anime film Ghost In The Shell, has a new anime in the works. Set for release in Japan in 2008, the feature, titled The Sky Crawlers, is based on best-selling Japanese author Hiroshi Mori's five-part novel of the same name, which Oshii called "a work that should be made into a movie for young people now."

According to a press release from animation studio Production I.G., "the story unfolds in another 'possible' modern age. The main characters are youngsters called 'Kildren', who are destined to live eternally in their adolescence. The Kildren are conscious that every day could be the last, because they fight a "war as entertainment" organized and operated by adults."

Along with Ghost In The Shell, Oshii is also responsible for three widely acknowledged anime masterworks: Ghost In The Shell 2: Innocence, Patlabor: The Movie, and Patlabor: The Movie 2, and though this distillation of his body of work, with its pattern of original/sequel repetition, might ostensibly indicate a filmmaker lacking imagination and inspiration, this is simply not the case. Amidst the beautifully fluid animation typical of Oshii's anime lies a provocative philosophical depth, and a desire to challenge the expressive and intellectual potential of the anime form. For those unfamiliar with Oshii (or anime in general) I strongly recommend the four aforementioned films, which are widely available on DVD.

Official Website (in Japanese)
Press Release @ Production I.G.

The Trailer Compendium: Vol. 8

2007-06-18T20:41:00.000-04:00

Upon first glance, Nicolas Roeg's Bad Timing and Richard Lester's Petulia might seem to be strange bedfellows. Roeg's film is a perverse exploration of sexuality and obsession. Lester's film (for which Roeg served as cinematographer) is study of crumbling lives wrapped in a brilliant observation of 1960's America. What makes these films quite suitable companion pieces however, isn't their respective narrative contents, but rather their beautifully nonlinear narrative forms (due in large part I'm sure, to Roeg's involvement). Enjoy!

Bad Timing (1980):

Petulia (1968):

Death And The Maiden (Polanski, 1994)

2007-06-15T02:38:00.000-04:00

Death and the Maiden functions ostensibly as a pure thriller, an exercise in sustained tension, masterfully orchestrated and compulsively watchable. The performances from Weaver, Kingsley and Wilson are altogether superb and evenly matched, and Polanski’s direction is inspired. Polanski exploits the claustrophobic nature of the source material to the utmost, staging the action in such a way as to communicate character psychology through spatial orientation within the frame.

Yet, for all its formal concision, and though the setup (three characters, one house, a single night) implies a certain inherent simplicity, the film is simultaneously a fluent, coherent discussion of subjects ranging from political repression and the limitations of justice to sexual empowerment. The brilliance of the film lies in Polanski’s ability to sustain a complex and ubiquitous thematic density that subsists beneath the narrative, without ever sacrificing the film's more basal power to enthrall.

To that effect, ultimately what fascinates most about this (quite literally) dark, exceedingly taut chamber drama, a minor masterpiece, is its psychological component. Its desire to unmask and observe an evil (embodied with nuance and disturbing ambivalence by Kingsley) that horrifies not because it is absolute, but because it is human, and perversely comprehensible.

Under The Radar: Dai-Nipponjin

2007-06-14T12:40:00.000-04:00

Though it will probably be a good deal longer before U.S. audiences get the chance to see Dai-Nipponjin (it only recently premiered in its native Japan), if the ecstatic early word is any indication, Hitoshi Matsumoto's absurdist mockumentary, an official selection at this years Cannes Film Festival (in the Directors' Fortnight section), is a film that should be on your radar.

The plot follows a struggling, working-class man who also happens to be "an electrically charged, skyscraper-high superhero saddled with misfortune, bad press and even worse TV ratings." The film's official site is fully functional, and with a bit of digging, you can find a trailer. Although it isn't subtitled, it really communicates the odd, dry sense of humor. This is certainly something I will be following. Films like this are an especially good reason to own a region free DVD player.

Official Site w/trailer

Reviews:
Variety
Twitch
Japan Times

*"Under The Radar" is an ongoing series highlighting lesser known/lower profile films (old and new alike) that I haven't yet seen, but, based on other factors (what I have read/the talent involved, etc...), seem interesting and of merit. Hopefully, this will spark interest/awareness in these films and lead to discussion.

Tropical Malady (Weerasethakul, 2004)

2007-06-12T17:45:00.000-04:00

Weerasethakul’s spellbinding magical realist fable, with its bipartite structure, counterposes a contemporary tale with a traditional Thai folktale. A love story both gentle and savage, Tropical Malady has an elusive, beautiful grace about it that makes it simultaneously difficult to grasp and tantalizing to experience. Weerasethakul renders his film with a pensive, quietly observant eye, belying the fact that there is much going on beneath the surface (the intersection of diverse forms of storytelling is particularly interesting), though part of me is inclined to believe he would prefer this work to be felt rather than analyzed.

Catch A Fire (Noyce, 2006)

2007-06-11T18:22:00.000-04:00

A blend of the differing sensibilities Noyce brought to The Quiet American and Patriot Games, Catch a Fire deserves more attention than it has received. At times Noyce hems a bit too close to formula, to familiar tropes, and when he does the film suffers, but apart from a few noticeable missteps, this is a finely tuned, intelligent and riveting work, lying somewhere between docudrama and thriller. Noyce leans towards the latter, and the film moves with a vibrant energy and sense of urgency. The inevitable trade-off however, is that the film feels disingenuous at times, a little too simple and neat.

The film charts apartheid era freedom fighter Patrick Chamusso's transformation from apolitical man to armed activist with the appropriate brio, but we aren't given deeper insight into the complex psychological processes that must have accompanied such a transformation. This isn't to say that the film is simplistic. Credit must be given to Noyce and screenwriter Shawn Slovo, who imbue both Chamusso and the film's antagonist, played (a bit too subtly) by Tim Robbins, with moral ambiguity and human nuance. They never allow the film to become as straightforward as "Chamusso: Good, Whites: Bad." Ultimately though, this is Derek Luke's film, and his charismatic performance is good enough to counterbalance the film's weaker points. Luke immerses himself in the character of Chamusso and is able to communicate much of the character's psychology through his eyes and physical gestures. It is a forceful and commanding performance, and anchors the entire film.

Van Sant's "Acid Test"

2007-06-11T08:13:00.000-04:00

According to Variety, Gus Van Sant will direct the film of Tom Wolfe's iconic novel The Electric Kool-Aid Acid Test. Wolfe's novel documents the LSD fueled 1964 cross-country road trip of One Flew Over The Cuckoo's Nest author/counterculture icon Ken Kesey and his friends, the Merry Pranksters. Although I have never read the novel cover to cover, I came across it numerous times throughout my undergraduate studies at NYU. It has attained iconic status as a key text in the realm of literary journalism dubbed "new journalism." It will be interesting to see how Van Sant's ethereal, semi-improvisational tonality, which has marked his masterful recent work, from the loose trilogy of Gerry, Elephant and Last Days, to his recent Cannes prize-winning Paranoid Park, reacts with Wolfe's work. This has instantly become a project to watch.

Ken Kesey & the Merry Pranksters @ Wikipedia
New Journalism @ Wikipedia

Ocean's Thirteen (Soderbergh, 2007)

2007-06-10T15:28:00.000-04:00

A breezy, lightweight affair (the most blithe revenge film in recent memory), convoluted and lacking any real substance, with about as much in common with reality as a superhero film. Yet in spite of this, or perhaps because of this, Ocean’s Thirteen remains a slickly entertaining “surface level” piece of work for the duration of its runtime. As in the previous entries of the series, style is the substance here and Soderbergh has fun taking the film to the heights of ridiculousness. The cast is obviously in on the joke and watching Clooney and his fraternity of actors coast through the proceedings is enjoyable. And although we aren’t left with much of anything to reflect on, it is fun while it lasts. As far as summer escapism goes, a far better and more satisfying experience than Spider-Man 3.

The Trailer Compendium: Vol. 7

2007-06-08T15:45:00.000-04:00

Peter Yates's film is a minor masterpiece of its genre, a gritty, street-level crime film filled with fantastic dialogue, and performances to match (especially Robert Mitchum). I am constantly amazed that a film as good as this one still hasn't been given a proper DVD release. A bootleg DVD exists (from a VHS source) and although the quality is poor, if you can find this film, watch it!

The Friends Of Eddie Coyle (1973):

Back From Vacation

2007-06-08T15:41:00.000-04:00

I've just returned from my brief excursion to the south of France, so beginning today, Direct Cinema is back on track. The posts will probably start slowly, but in a couple of days, I'll be back at full strength.

Apologies

2007-05-31T14:15:00.000-04:00

Hello readers, I have to apologize for the complete lack of updates for the past week and a half. The reason is, I am in the south of France right now, on a brief vacation. I had the amazing fortune of being in Cannes for the tail end of the festival, and while I didn't get to see any films, I got to attend an awards ceremony and meet quite a few people in the industry. The spectacle is truly incredible. Anyways, I will be back and blogging in full force in about one week, so please don't think of this blog as finished, it is far from it. In the meantime, I hope you will explore some of the posts and reviews on the blog that you haven't yet read. It's quite hard to get internet in the small town I am currently in, so bear with me.

Thank you so much for reading, I really appreciate it!

The Guard From Underground (Kurosawa, 1992)

2007-05-19T16:57:00.001-04:00

Much has been made of the connection between this early work from Kiyoshi Kurosawa and the American slasher films of the late 70’s and early 80’s. He himself has referred to this film as an homage of sorts to that particular brand of cinema (the primary influences here are Tobe Hooper’s The Texas Chain Saw Massacre and John Carpenter’s Halloween), and there are obvious parallels to be found. In the great slasher tradition, the killer is a hulking, almost invincible menace that seems to be everywhere at once, and there are a few creative death scenes (though they are fairly bloodless affairs). Kurosawa even throws in a wonderful visual reference to Hooper’s influential film. And yet, despite the abundance of similarities, I hesitate to refer to this as a slasher film. In fact, most fans of slasher cinema would probably hate The Guard From Underground.

Kurosawa’s film feels somewhat antithetical to the slasher genre, if not in terms of plot, then at least in terms of mood. The narrative is extremely slow, and the true slasher elements don’t really surface until the film’s latter half. The plot follows Akiko, a young woman who has just joined the newly formed Department 12 at the Akebono Corporation. Her first day at the corporation, just so happens to be new security guard Fujimaru’s first day as well, which is unfortunate, as he is a mentally deranged ex-sumo wrestler who was previously tried for the murder of a fellow wrestler and his lover.

In many ways, I consider The Guard From Underground a perverse comedy more so than a slasher film. The film focuses on a group of employees of the Akebono Corporation who never seem to be doing any real work. The head of Human Resources at the corporation, Hyodo, sleeps more than he works, and even though he does almost nothing all day, he still refuses to take most calls. And yet, everyone always seems to be putting in overtime. In one of the film’s funniest scenes, two characters, both fleeing from the killer, run into each other in a hallway. Surprised, one says to the other, “you’re working overtime tonight?” Beneath its slasher film exterior, Kurosawa’s film reveals itself to be a surreal portrait of corporate Japan and office politics, extremely funny in an eccentric, offhanded way.

Lest I give the wrong impression, it must be said that The Guard From Underground isn’t a great film. By most accounts, it isn’t even a good film. Shot on a shoestring budget, taking place in only a few rooms, and built upon an admittedly thin screenplay, the film will probably bore most. Yet, there is something intangibly fascinating about this work, which I am sure has to do primarily with the fact that it provides a glimpse of Kurosawa’s emerging style. Everything that has marked his later, superior work, is here in larval form, from the detached, languid visual style, to the palpable sense of dread, to the quick bursts of brutality, and of course the bizarre sense of humor that flows beneath the surface (for further evidence of humor in Kurosawa's work, watch Charisma and Doppelgänger). Although this is one of Kurosawa’s earlier works, it isn’t a recommended entry point into his oeuvre. However, for those more familiar with the director’s unique brand of cinema, there is much to enjoy here.

Cannes 2007: The Coen Bros. Are Back!

2007-05-19T12:39:00.001-04:00

After the disappointment of their last two films, Intolerable Cruelty and The Ladykillers, it looked as if the once infallible Coen Brothers were running out of creative steam, but the early word out of Cannes is that their latest film, No Country For Old Men, based on a novel by Cormac McCarthy, is fantastic, if not a masterpiece. Every review for the film has been positive, with some calling it possibly their best work ever. Although festival reviews tend towards hyperbole, this is certainly encouraging. The film, one of my most anticipated of the year, is slated for a November 21 release, just in time for the awards season.

Reviews & Reactions:
Variety
Hollywood Elsewhere
The Independent
The Hollywood Reporter
Screen Daily
Premiere
Time

Defending Your Life (Brooks, 1991)

2007-05-19T00:00:00.000-04:00

What happens to us when we die? This fundamental question provides the premise for Defending Your Life, a premise that seems perfectly attuned to writer/director Albert Brooks's particular brand of intelligent comedy. According to him, we are put on a trial of sorts, where it is determined whether we move on to the next world, or get sent back to earth to be reborn. Yet although the film is certainly entertaining, it also represents a missed opportunity of sorts.

In this case, Brooks's intelligence is to fault. If the film never quite realizes its full comedic potential, it is primarily because Brooks is so preoccupied with creating a fully formed vision of the afterlife, complete with its own interesting philosophical system, and peppered with a raft of entertaining details and visual gags (the pavilion of past lives is particularly enjoyable), that he forgets to put equal effort into the films plotting and dialogue. The result is a comedy that elicits many smiles, but hardly any big laughs.

Brooks's prior film, the hilarious Lost In America, succeeded primarily because of his way with conversation, his ability to write hilarious exchanges. Here, the dialogue is occasionally good, but too often, conversations feel uninspired, like filler, and while the actors give it their all (particularly Meryl Streep and Rip Torn), Defending Your Life ends up feeling extremely light. It runs 20 minutes longer than Lost In America, but manages to feels less substantive. Yet, although it never quite reaches the admittedly lofty comedic heights of that former film, the intelligence and clever minutiae of Defending Your Life make it an enjoyable way to spend two hours.

Cinderella Liberty (Rydell, 1973)

2007-05-18T12:10:00.000-04:00

Both the subject matter (the life of a navy man) and the pedigree (the screenplay is an adaptation by Darryl Ponicsan, from his own novel) of director Mark Rydell's film had me expecting something akin to Hal Ashby's The Last Detail (also based on a Ponicsan novel). The reality is that Cinderella Liberty is a far different, far more conventional type of film, and a lesser one as well. Gone are the latter film's enjoyably salty sailor speak and grittiness. In their place we get an attempt at realism and grit that ends up feeling far too manufactured and syrupy to be convincing. And James Caan's lonely sailor with a heart of gold is probably as far from the real world as one can get. And yet, thanks to the strong performances from Caan and especially Marsha Mason, (as the prostitute/single mother Caan's sailor falls in love with) the film merits a look. Both of them imbue their characters with a charm and likability that is hard to fault. However, this isn't the place to look for complex emotion and characterization. Rydell has crafted a film that functions predominantly to tug at the heartstrings, which isn't necessarily a terrible thing. Although in this case, since we have been so inundated with films of this type the formula is exceedingly easy to recognize. As a result, this early 70's effort feels less aligned with the daring cinema of the "New Hollywood" era than with the clichéd product Hollywood churned out so frequently in the 80's.

The Trailer Compendium: Vol. 6

2007-05-18T11:37:00.000-04:00

The 60th Cannes Film Festival kicked off on Wednesday, and in celebration, I present to you three films that have played at past festivals. Lindsay Anderson's if... won the Palme d'Or in 1969. The Strawberry Statement won the Prix du Jury in 1970, although that year, half of the jury felt the film deserved the Palme d'Or. And finally, proving the statement that the most interesting films aren't always the winners, Dennis Hopper's Out of the Blue was nominated for the Palme d'Or in 1980, and although it is mostly forgotten today, it remains one of the best examinations of the punk ethos. So, happy 60th Cannes! Enjoy!

if... (1968):

The Strawberry Statement (1970):

Out Of The Blue (1980):

Cannes 2007: Hark + Lam + To = Triangle

2007-05-13T10:49:00.000-04:00

When multiple directors are involved with one project, the result is usually an anthology film, with each director contributing a self-contained narrative. Thus, the central conceit of Triangle, having three directors tackle separate thirds of the same narrative, is already fascinating. When those three directors happen to be Tsui Hark, Ringo Lam, and arguably the best Asian director working today, Johnnie To, Triangle moves from being fascinating to being a must-see. Here is a plot synopsis from distributor Celluloid Dreams:

"Life has not been kind to drinking buddies Sam, Fai, and Mok as they struggle to make ends meet. That is until one stormy evening a mysterious old man appears before them in a bar with a 'get rich quick' scheme: An ancient treasure is buried under a high-security Government Building. All they have to do is slip in and retrieve it, if they believe his story.

The friends agree to make a run for the treasure and test their fate but what they uncover is far beyond anything they had dreamt of: An ancient coffin containing a ceremonial robe made of gold. According to Mok, who deals antiques, the robe is worth millions. The thought of getting rich puts the men's friendship to the ultimate test as all three are plagued with uncontrollable thoughts of greed.

The treasure, however, also attracts the attention of Ling, whose marriage to Sam is on the verge of collapse, and who plans to steal the robe and run away with her secret lover. Gangsters from the mainland are also hot on their heels. It seems that everybody wants to get their hands on the treasure. Whoever has the strength and outright determination to survive this struggle will become the owner. Between survival, wealth and friendship, Sam, Fai and Mok will ultimately have to make a choice…

The first film ever to be shot in the style of the game 'exquisite corpse' with the three undisputed masters of Hong Kong cinema."

Triangle will have its premiere "out of competition" at the Cannes Film Festival. Currently, there is no trailer out, but when one surfaces I will post it here.

For a taste of what these three can do within the confines of the crime genre, check out Hark's excessively stylish Time and Tide, Lam's iconic City on Fire, and just about anything To has done in the past ten years (but especially The Mission, Election and Election II).

More stills @ Celluloid Dreams (click on "Triangle", and then "downloads")

Brief Impressions: Point Blank (Boorman, 1967)

2007-05-11T21:10:00.000-04:00

A breathtaking fusion of art film and genre flick. Probably the most formally inventive/experimental crime film that has ever come out of Hollywood. Boorman's influences include the Nouvelle Vague, Jean-Pierre Melville, and Harold Pinter, and the result is nothing short of breathtaking. Lee Marvin is raw power fused with unbelievable grace. At times, the cinematography, editing and especially sound design seem almost Avant-garde. I need a bit more time to parse a more complete reaction (possibly a second viewing), but don't wait... Go see this film now! IMDb listing.

Lee Marvin Retro At The Lincoln Center!

2007-05-11T14:35:00.000-04:00

Lee Marvin is an actor so cool, that a secret society called "The Sons of Lee Marvin" exists in his honor, founded no less by maverick director Jim Jarmusch. The Film Society of Lincoln Center is currently paying tribute to Marvin with a 22 film retrospective that runs May 11-24. Highlights include a brand-new 35mm print of The Dirty Dozen, and a couple of in-person appearances by director and Marvin collaborator John Boorman. If you are in the NYC area I strongly urge you to check out a couple of these films. The absolute must-see of the entire retro is Point Blank. (If you can't make it out to the Lincoln Center, Point Blank is also available on a great looking DVD from Warner Bros.)

Lee Marvin: The Coolest Lethal Weapon @ The Lincoln Center

Point Blank:

The Trailer Compendium: Vol. 5

2007-05-11T12:51:00.000-04:00

Two of the toughest, most suspenseful films you are likely to see. Clouzot's The Wages of Fear is an established classic. Friedkin's Sorcerer is a forgotten classic, and in my opinion, one of the greatest remakes of all-time.

The Wages Of Fear (1953):

Sorcerer (1977):

An Inconvenient Truth (Guggenheim, 2006)

2007-05-11T11:04:00.000-04:00

Let me establish something right off the bat, I am not an environmentalist. In fact, I wouldn't consider myself anything even close to an environmentalist. I've never really gotten on the recycling bandwagon, I probably use more electricity than I need to, I haven't ever given thought to buying a hybrid, and die-hard environmentalists have always pissed me off for some reason. That being said, An Inconvenient Truth really affected me. Guggenheim's film, essentially a document of Al Gore's PowerPoint presentation on Global Warming, is a startling work, and in many ways, could be considered a horror film. In a short 90 minutes, Gore presents the "facts" on Global Warming. Utilizing graphs and more effectively, pictures, Gore shows how the temperatures worldwide have risen drastically in the past hundred years, how the oceans are slowly heating up, how the major bodies of ice are slowly melting at an ever increasing rate. He also devotes a section of his presentation on answering the critics of Global Warming. Fortunately, Gore proves to be a far less wooden personality than he has been in the past. He injects the proceedings with a small dose of humor, and you can sense a true passion in his voice.

I don't know if every fact in this film is true. I don't know if Gore has manipulated the data to some extent to support his claims. But if he has, then those who oppose him certainly have as well, and in the end, for me, it comes down to making a simple choice. Would we rather err on the side of caution, or not? Personally, I would rather be safe than sorry, and it both puzzles and saddens me that there are people out there so opposed to trying to live cleaner lives.

Marshall McLuhan once said that the medium is the message, and if you'll permit me to warp the term a bit for my own purposes, here, the opposite holds true. In terms of the filmmaking, An Inconvenient Truth is the epitome of basic. Guggenheim's directorial style is for the most part, "point and shoot." The lack of style is appropriate though, as it allows Gore's message to take center stage. Here, the medium means almost nothing, and although the film certainly has its faults, the central message is so compelling, so frightening, that it transforms a conceptually boring film, a glorified science lesson, into something powerful and vital.

Lost In America (Brooks, 1985)

2007-05-11T00:26:00.000-04:00

Lost in America bears the hallmarks of much of Albert Brooks's work. In other words, it is incisively witty, intelligent, and most importantly, very very funny. What I love about Brooks's comedy is that it feels organic. The laughs stem from natural situations so they don't feel manufactured or artificial in the least. Almost every joke works in the sense that even if you're not laughing out loud, you are smiling. The highlight here is certainly Brooks's fantastic dialogue. There are a pair of exchanges that rank amongst the funniest I have ever seen, and as I was watching, I couldn't help but feel that the TV show Seinfeld was in some way influenced by Brooks's way with words and conversations. The only problem with the film, a problem I almost never encounter, is that it feels too short. The ending is jarringly abrupt, almost upsettingly so. It is as if the entire final act was accidentally excised during editing. Still, the 2/3rds of Lost in America that remain are funnier than every comedy released this year put together.

Boudu Saved From Drowning (Renoir, 1932)

2007-05-07T15:51:00.000-04:00

Jean Renoir once called his film a "free exercise around an actor," and if that statement isn't enough to convince you of the brilliance of Michel Simon as the tramp Boudu, than nothing will. Simon's Boudu is less a human being than a force of nature, an alternately comedic and disgusting agglomeration of twitches and spasms. And it is truly a sight to behold as Boudu works his way into the consciousness of the bourgeois Lestingois household and tears it apart. However, in making that statement, Renoir is selling his own film short. The beauty of the film lies in the immense depth that rests below its farcical exterior, and in Renoir's refusal to pass judgment on either Édouard Lestingois or his other self, Boudu. IMDb listing.

The Ten Best Films Of 2006

2007-05-07T11:36:00.000-04:00

1.   Children Of Men (Alfonso Cuaron, Japan/United Kingdom/United States)
2.   The Fountain (Darren Aronofsky, United States)
3.   Inland Empire (David Lynch, France/Poland/United States)
4.   Miami Vice (Michael Mann, Germany/United States)
5.   Syndromes And A Century (Apichatpong Weerasethakul, Thailand/France/Austria)
6.   Paprika (Satoshi Kon, Japan)
7.   Triad Election (Johnny To, Hong Kong)
8.   A Scanner Darkly (Richard Linklater, United States)
9.   The Host (Joon-ho Bong, South Korea)
10. Red Road (Andrea Arnold, United Kingdom/Denmark)
&    Requiem (Hans-Christian Schmid, Germany)

*list based on year of release, not U.S. theatrical release date