The Grey (2012) – Film Review

Directed by Joe Carnahan (Smokin’ Aces, The A-Team, Boss Level) and based on the short story: ‘Ghost Walker’ by Ian Mackenzie Jeffers, 2012’s ‘The Grey’ is a sombre tale of survival populated with fleshed-out characters and some surprisingly compelling themes. As Liam Neeson throws aside his stereotypical action-hero role in exchange for a far more realistic protagonist, which in turn allows the film to fully indulge in its dreary nature and overcome many of its screenplay-related faults to ensure its perilous journey through the Alaskan mountains remains engaging.

Plot Summary: Following a gruelling five-week shift at an Alaskan oil refinery, a team of oil workers including skilled huntsman: ‘John Ottway,’ are flying home for a much-needed rest. But when a savage storm causes their plane to crash in the Alaskan wilderness, the group are forced to trek southward toward civilisation, with a pack of ravenous wolves trailing their every step…

Although ‘The Grey’ is very reminiscent of the 1993 survival-thriller: ‘Alive’ in more ways than one, it’s apparent that Carnahan had something more ambitious in mind than just your conventional story of survival when directing ‘The Grey,’ as the film focuses a large amount of its overly long runtime on extensive dialogue scenes which attempt to develop the film’s characters. And while all of this talk could’ve been dull if executed poorly, ‘The Grey’ is never tedious to watch, as the film intercuts many of its moments of characterisation with uncomfortably tense sequences of the wolf pack stalking (or killing) members of the group.

Speaking of the characters, the whole cast of Liam Neeson, Frank Grillo, Dermot Mulroney, Dallas Roberts, Joe Anderson, Nonso Anozie and James Badge Dale all portray men on the brink of defeat extremely well, as the further the story goes on, the more tired and desperate they look, making the viewer feel genuine empathy for every one of them as they remain stuck in their horrific situation with so sign of rescue. However, Liam Neeson especially never fails to impress throughout the film, giving a truly committed performance as he portrays ‘John Ottway,’ a hunter who since the tragic death of his wife suffers from suicidal tendencies and a lack of self-worth, often leading him to become distant from those he still has left.

Masanobu Takayanagi handles the film’s cinematography, which is, in my opinion, the weakest element of the film, as despite ‘The Grey’ featuring a number of attractive shots, I feel this is less to do with the actual camerawork (which is often hand-held) and more to do with the copious number of beautiful locations the story is set within. As despite my initial belief that ‘The Grey’ was primarily filmed in a temperature-controlled studio, according to Liam Nesson, much of the film was shot on-location in Smithers, British Columbia, where temperatures were as low as -40 degrees Celsius. Meaning that all of the snowstorms seen within the film were actual prevailing weather conditions and not visual effects, so whether the characters were next to an snowy cliff or a flowing stream, I couldn’t help but gaze at the natural beauty of each scenic location the film presented. And just as its title would imply the colour palette of: ‘The Grey’ relies heavily on greys, blues, and whites, which only add to the film’s bleak tone.

Throughout the film, the original score by Marc Streitenfeld is dramatic, atmospheric, and fairly minimal, with the final track: ‘Into the Fray’ being without a doubt being my personal favourite (and most iconic) track from the film, as the largely orchestral soundtrack sustains long notes accompanied by the twinkle of a keyboard or the occasional brass stinger. All being elevated through the score’s exceptional use of howling wolves, glacial winds and most disturbingly… complete silence. Ultimately, adding-up to a chilling yet not exceedingly memorable original score.

An aspect of: ‘The Grey’ that I could see some viewers taking issue with may be how the film’s wolves are represented, as while I personally enjoy how the wolves are depicted in ‘The Grey,’ essentially serving as a pack of ruthless, brutal creatures that will stop at nothing to kill our characters, the animals aren’t exactly treated that realistically with the exception from one or two lines from ‘John’ regarding their protective behaviour. Be that as it may, visually the wolves are brought-to-life through CGI, which could’ve been a disaster considering the film’s moderate-budget, but director Joe Carnahan made the clever decision to obscure the wolves whenever they are on-screen through everything from fog to snow to shadows. So, ‘The Grey’ manages to avoid its CG effects becoming dated as a result of this technique.

To conclude, “Grim” is truly the perfect word to describe ‘The Grey,’ as this harrowing and merciless story of survivalism with very little in the way of positivity or hope. Yet for those who can look past its relentlessly depressing outlook, ‘The Grey’ is a captivating story about pushing through melancholy to reach contentment, which is greatly amplified by its strong cast, prepossessing CG effects and visually stunning locations even in spite of its occasionally bland cinematography and frequently chaotic editing whenever the wolves are on-screen. Final Rating: low 7/10.

grey_xxlg

The Meg (2018) – Film Review

Following the endless string of horrendous, ultra-low-budget shark films produced for the Syfy Channel, some notable releases of which being: ‘Toxic Shark,’ ‘Ghost Shark,’ ‘Sand Sharks,’ ‘Shark Exorcist,’ ‘6-Headed Shark Attack,’ and ‘Mega-Shark vs. Giant Octopus.’ ‘The Meg,’ released in 2018, attempted to be an explosive and humorous action blockbuster inspired by these risible science fiction flicks, yet due to its less than mediocre writing, predictable story and often dreadful supporting cast, the film noticeably lacks the thrills or overt cheesiness that make cult sci-fi and horror films so enticing.

Plot Summary: Deemed insane for claiming that a failed submarine rescue was doomed due to an enormous creature lurking within the ocean depths, deep-sea rescue diver: ‘Jonas Taylor’ finds himself heading into the Mariana Trench, five years later, as a team of scientists working for an underwater research facility become trapped inside a crippled submersible after sharing a similar encounter. Soon discovering that the colossal creature corning them is one of the largest marine predators to ever exist… the megalodon.

Even though it’s incredibly rare nowadays to stumble upon a genuinely great shark film, I can appreciate what director Jon Turteltaub (Cool Runnings, While You Were Sleeping, National Treasure) and his crew set-out to do with this film. As it’s obvious quite early on that ‘The Meg’ doesn’t take itself that seriously, having numerous jokes and self-aware lines scattered throughout its runtime, a clear departure from the mostly straight-faced novel: ‘MEG: A Novel of Deep Terror’ by Steve Alten, which the film is partly an adaptation of. However, that isn’t to say that the humour within ‘The Meg’ is quality comedy, as a large majority of the film’s comedic lines feel either forced or childish, with any lines that aren’t intended for humour usually being clichéd pieces of dialogue along the lines of: “What Have We Done?” and “There’s Something Out There!”

While there is an argument to be made that all you really need for an enjoyable summer action flick is Jason Statham and something for Jason Statham to kill, I feel ‘The Meg’ is another film that further proves this method of casting for blockbusters isn’t always the right call. As whilst Statham’s actual talent for swimming is put to fantastic use in this film, Statham often just plays himself, rarely even making an effort to make ‘Jonas’ an actual character. The film’s supporting cast are unfortunately, even worse, as whilst Rainn Wilson seems to at least be having fun portraying ‘Jack Morris,’ the smug billionaire funding the underwater research facility, the rest of the cast e.g. Bingbing Li, Cliff Curtis, Ruby Rose, Page Kennedy, and Winston Chao, are all saddled with roles that can barely be described as archetypes.

The film’s cinematography by Tom Stern is creative when it wants to be, occasionally dragging the camera in and out of the water almost as if the camera operator is in the middle of the ocean just beside the characters, which is even more impressive as all of the film’s ocean sequences were filmed within two large water-tanks built in Kumeu, New Zealand, with one tank utilising a two-hundred-foot green-screen on one side for shots above the ocean’s surface. Yet where the film falters in terms of visuals is with the meg itself, as although the CGI that brings the gigantic apex-predator to-life is more than serviceable, the film’s camerawork rarely displays the creature’s size in full through wide-shots, which is an abysmal waste of potential considering the film’s megalodon is over seventy-five foot-long.

Furthermore, Harry Gregson-Williams’ original score for: ‘The Meg’ has its moments, but is often disappointing, as despite the film’s signature track: ‘Mana One’ being a coruscating way to introduce the underwater research facility. This track is sadly very underused, only making two more appearances from that point onwards, which is frustrating as the rest of the soundtrack, in particular, the tracks: ‘Prehistoric Species,’ ‘Tracker,’ ‘Shark Cage,’ and ‘Beach Attack’ merely sound like tracks taken from any generic action score.

When it comes to the film’s titular creature, many of the visual effects artists who worked on ‘The Meg’ did research into how sharks swim, breathe and hunt in real life in an attempt to understand how a creature of that scale could realistically be presented on-screen. Most of these supposed details are generally unavailing, however, as the film constantly plays fast and loose with the laws of deep-water biology similar to most shark films, in addition having nearly all of the meg’s kills be entirely devoid of blood.

All in all, whilst ‘The Meg’s goal of modernising a creature-feature storyline and then transferring it into an exciting summer blockbuster is certainly commendable. I’d rather stick to ‘Deep Blue Sea’ for my fill of a cheesy shark flick, as when ‘The Meg’ is lacking, it’s truly lacking, becoming nothing more than a trite and stereotypical mess that is often too formulaic for its own good. Still, the film’s flaws didn’t stop it from becoming a worldwide success, as ‘The Meg’ grossed over £383 million, meaning its very likely that we’ll be receiving a sequel (with many of the same problems no doubt) in the near future. Final Rating: low 4/10.

meg_ver7_xxlg

Sinister (2012) – Film Review

One of the more authentically frightening horrors to be released by production company Blumhouse Pictures, 2012’s ‘Sinister’ steps carefully through familiar horror territory as it crafts a compelling yet chilling narrative, repeatedly see-sawing between drama, mystery, and traditional horror all whilst delivering on plenty of scares through its assorted bag of both old-school and contemporary horror tricks. Making for a well-acted, reasonably paced and continuously intriguing horror, even when taking into account its various issues.

Plot Summary: Desperately searching for a case that can be used to repeat the early success of his career, washed-up true-crime writer: ‘Ellison Oswalt’ uproots his family into a seemingly innocuous house where a married couple and two of their children met a horrible fate while their third child mysteriously vanished. Whilst living there, ‘Ellison’ stumbles across an old box of Super-8 film reels, with each reel he watches further suggesting that the killings he’s currently investigating may be the work of a single serial killer whose work dates back decades…

Co-written and directed by Scott Derrickson (The Exorcism of Emily Rose, Deliver Us from Evil, Doctor Strange), the initial idea for: ‘Sinister’ first originated through a nightmare co-writer C. Robert Cargill had after watching the 2002 horror classic: ‘The Ring.’ And immediately from the outset, that iconic film’s influence is fairly evident, as a large majority of: ‘Sinister’s story revolves around the idea of footage that shouldn’t be seen by human eyes. However, although ‘Sinister’ much like ‘The Ring’ is centred around a mystery, the film’s structure is far from flawless, which is one of its biggest missteps, as rather than having the plot slowly unfold over the course of the runtime, the film sticks to a particular rhythm, having each ten-minute block of careful investigation or familial drama punctuated by a moment of shrieking fright. Almost implying that the film’s story/characters aren’t engrossing enough to stand on their own, yet I actually feel its the opposite, as ‘Sinister’ is at its worst when it devolves into ‘Ellison’ wandering through his house purely for the sake of a weak jump-scare.

In addition to its engaging story, the main advantage ‘Sinister’ has over many other modern horrors is its central character, as even though a horror film focusing on an American family moving into a new house is anything but original, ‘Ellison Oswalt’ is a captivating protagonist, as his motivations for uprooting his family are far more selfish than your usual father figure, as ‘Ellison’ always places his career over his family, anxious to repeat the success of his bestseller: ‘Kentucky Blood’ and avoid returning to writing school textbooks. And, of course, Ethan Hawke displays this brilliantly though his performance, elevating the struggling writer character-type we’ve seen many times before.

For many, I feel the most harrowing moments within ‘Sinister’ will surely be each piece of grainy Super-8 footage we see, as every scene executed in this fashion is deeply uncomfortable to watch. In some cases, the film even redeems some of its clunky dialogue through its sheer horrific imagery and atmosphere, the clearest example of this being the film’s disturbing opening shot, in which, a masked family are slowly hung from a tree. It also helps that all of these scenes were actually shot on a real Super-8 film camera by cinematographer Christoper Norr, creating a visual contrast between the outdated Super-8 footage and the remainder of the film’s camerawork, which unfortunately, is overly dark and fairly dull aside from a handful of shots.

The unnerving atmosphere that ‘Sinister’ builds is only partly due to these distressing visuals, however, as the film’s original score by Christopher Young is exquisitely terrifying, as immediately from the first track: ‘Portrait of Mr. Boogie,’ which utilises strange synthesiser sounds combined with loud percussion and abrupt stops, it quickly becomes clear that the listener should never know what to expect next. Then there is the track: ‘Levantation,’ which greatly adds to the film’s second Super-8 segment through its use of distorted voices and whispers, quite impressive work considering Young usually keeps his distance from the horror genre.

Perhaps unknown to some, ‘Sinister’ does feature a few supernatural aspects within its story, so when these elements are eventually revealed I can picture the film alienating some viewers, as for the most part, ‘Sinister’ stands its ground as a dreary investigative horror flick. Still, with that said, performer Nicholas King does a decent job portraying the film’s malevolent entity: ‘Bughuul,’ giving the supernatural antagonist a menacing presence purely through his body movements whenever he’s on-screen, though that may not be as frequent as some may hope.

In conclusion, it’s a shame that ‘Sinister’ suffers from a fair amount of horror clichés, as when the film isn’t forcing in jump-scares or relying on a rushed performance from Vincent D’Onofrio to bombard the viewer with exposition, ‘Sinister’ is truly a formidable delve into a murder investigation. And although Scott Derrickson’s directing career realistically had nowhere to go but up after taking on the dismal remake of: ‘The Day the Earth Stood Still’ in 2008, I feel ‘Sinister’ overcoming most of its faults to become an entertaining horror was Derrickson’s first step on his path to greatness. Final Rating: low 7/10.

sinister_xxlg

Logan (2017) – Film Review

Even though many comic book fans weren’t delighted when it was first announced that the then-unknown Australian actor Hugh Jackman, would be taking on the pivotal role of: ‘Wolverine’ for the first live-action ‘X-Men’ film, nowadays it’s hard to imagine anyone else in the role, with Jackman appearing in multiple films as the regenerative superhero. But when it finally came time for Jackman to sheathe his claws in 2017 with ‘Logan,’ the foreboding task of bringing this beloved character’s cinematic story to a close fell to director James Mangold (Walk the Line, The Wolverine, Le Mans ’66), who suitably crafted a brutal, bloody, and surprisingly thoughtful final-outing for the iconic hero.

Plot Summary: In a bleak future where mutants are nearly extinct, a weary ‘Logan’ leads a quiet life as an undercover limo driver, caring for an ailing: ‘Charles Xavier’ at a remote outpost on the Mexican border as he awaits his inevitable death, slowly being poisoned by his adamantium skeleton. But ‘Logan’s plans to hide himself away from the outside world are swiftly upended when he meets ‘Laura,’ a mutant child on the run from a sinister organisation…

Very loosely based on the ‘Old Man Logan’ comic book series, ‘Logan’ is a film free of the baggage that comes with being a part of the ‘X-Men’ franchise, as beyond a couple of nods/references the film essentially ignores much of: ‘Logan’s past, which is definitely a decision made for the better, in my opinion. As the now-discontinued franchise was only ever consistent in its lack of consistency, jumping from entertaining entries such as: ‘X-Men: First Class’ and ‘X-Men: Days of Future Past,’ to greatly disappointing ones like ‘X-Men: The Last Stand’ and ‘X-Men: Apocalypse.’ ‘Logan,’ however, takes a very different route, focusing on a straight-forward road-trip narrative that explores ‘Logan’s struggle between his human compassion and animalistic killer instinct.

These ideas all massively benefit from the film’s performances, as ‘Logan’ is without a doubt Jackman’s finest performance as the titular character. As when placed alongside Patrick Stewart, who returns as ‘Charles Xavier/Professor X,’ the pair of actors portray far more broken versions of their respective characters, as ‘Logan’ grapples with alcoholism and the immense guilt for all those he has hurt, while ‘Charles’ is now a delusional shell of the man he once was, battling dementia with all the pharmaceuticals that ‘Logan’ can afford. Boyd Holbrook also delivers a praiseworthy performance as ‘Donald Pierce,’ the leader of the merciless security team tasked with capturing ‘Laura’ (portrayed brilliantly by Dafne Keen). And whilst it’s no easy task to stand toe-to-toe with Jackman’s ‘Wolverine’ and seem like a sincere threat, Holbrook does exactly that. For me, the only out-of-place casting choice is Stephen Merchant as ‘Caliban,’ as although Merchant isn’t awful by any means, I never felt his performance quite matched-up to those around him. Though this is somewhat redeemed by the parental relationship between ‘Logan’ and ‘Laura,’ which in many ways, is the true heart of the film.

Taking heavy inspiration from a number of classic westerns, the cinematography for: ‘Logan’ handled by John Mathieson gives the film a vastly different appeal than any of the films the character has previously appeared in. As director James Mangold keeps the film grounded in reality as much as possible, having the story take place primarily in remote towns, barren deserts, and wide-reaching woodlands, in addition to filming on-location and utilising a large number of practical effects to avoid becoming too CGI-heavy similar to some of the other entries in the ‘X-Men’ series.

The film’s original score by Marco Beltrami is also incredibly effective at building tension and evoking emotion, as the score combines almost horror-esque tracks with far more dramatic pieces to deliver a varied yet still fitting soundtrack, with tracks such as: ‘The Reavers,’ ‘X-24,’ and ‘Farm Aid’ being almost uncomfortable to listen to, while the score’s final track: ‘Don’t Be What They Made You’ is a beautifully sombre piece that will undoubtedly bring a tear to any listener’s eye.

Yet the highlight of: Logan’ for most viewers will surely be its thrilling action sequences, as due to ‘Logan’ being the second ‘X-Men’ film to have a higher age rating behind 2016’s ‘Deadpool,’ the film never shies away from displaying graphic violence, having scene-upon-scene of criminals and security alike being slashed and torn apart by ‘Logan’ and ‘Laura.’ Finally giving in to comic book enthusiast’s demands and allowing ‘Wolverine’ to exhibit his animalistic nature and fully unleash his berserker rage, resulting in innumerable moments of blood-spattering, barbarous fight choreography.

Altogether, I feel ‘Logan’ earns the gut-wrenching reactions it initially received from ‘Wolverine’ fanatics. As despite the ‘X-Men’ franchise as a whole being extremely inconsistent, ‘Logan’ is a film that proves blockbuster franchises should save their best film for last, as Hugh Jackman’s long-running portrayal of the character will no doubt go down in cinematic history. And I truly have pity for whichever Marvel executive will tasked with recasting ‘Wolverine’ when the day eventually arrives for a reboot of the character/franchise, as finding another actor to fill Jackman’s shoes will be no easy task, but for whoever does, I’m sure most fans will need an adjustment period. Final Rating: high 8/10.

logan_ver3_xxlg

Pet (2016) – Film Review

An unsettling indie horror firmly within the mould of the classic thriller: ‘The Collector’ from 1965, 2016’s ‘Pet’ takes what could potentially be nothing but an exploitative horror and twists it into a unique story that continuously indulges in defying its audience’s expectations. And although the film never manages to fully escape its various flaws by the end of its brief runtime, ‘Pet’ is able to achieve a nice balance between many of its best and worst aspects.

Plot Summary: After ‘Seth,’ a socially awkward recluse bumps into his old high-school crush: ‘Holly,’ he subsequently becomes obsessed with her just as he was many years ago, ultimately leading him to abduct her and hold her captive beneath the animal shelter where he spends his working days, enclosing her in a cage just as he does with the canines above…

Directed by Carles Torrens (Apartment 143) and written by Jeremy Salter, the writer partly responsible for the disastrous ‘Fantastic Four’ reboot in 2015. ‘Pet’ was considered an utter failure upon its initial release, with the film only earning a box-office gross of around £8,000 on a total budget of £15,800, in addition to receiving a series of extremely mixed reviews from both critics and audiences alike. While this may be due to many fearing ‘Pet’ would be nothing but a grotesque ‘Captive Woman’ flick, ‘Pet’ is actually much more interested in going against the typical clichés many viewers will associate with this idea to delve into the ever-shifting power-dynamic between ‘Seth’ and ‘Holly,’ making for a pretty engrossing and unpredictable watch even if a level of disbelief is surely required as a result of the film’s many, many plot twists.

Much of what makes ‘Pet’ work can be attributed to its two leads, with Dominic Monaghan being hugely effective as ‘Seth,’ portraying him as a soft-spoken introvert who simply meanders his way through life with a small apartment and boring job, looking anyone (or anything) that could make his life truly worth living. And whilst Monaghan is certainly capable of being intimidating when the story requires it, it is a shame that much of: ‘Seth’s transformation from a wholly-reclusive loner to a plotting unhinged stalker feels very rushed. Then, of course, there’s ‘Holly’ portrayed excellently by Ksenia Solo, who is far from your usual helpless victim alluded to almost immediately through Solo’s sly performance and the unhealthy relationship that grows between her and ‘Seth’ as the story continues on. However, ‘Pet’ sadly still features a weak link amongst its cast, as Jennette McCurdy’s performance as ‘Holly’s best friend: ‘Claire’ feels lacking in nearly every scene she’s in, despite her actual character serving a crucial role in the overall development of: ‘Holly’s character.

A large majority of the cinematography by Timothy A. Burton is visually interesting, but unfortunately, many of the film’s shots are spoilt due the over-reliance on hand-held camerawork, with a number of shots being accomplished through hand-held for seemingly no reason. Still, the cinematography is varied enough to stop the story’s limited number of locations from becoming monotonous, especially when placed alongside the film’s dramatic lighting and grimy set-design.

Similarly, the original score by Zacarías M. de la Riva is competent, yet many tracks do feel more suited to something like a modern crime thriller than a disturbing psychological horror such as this, feeling especially out-of-place during any scenes that feature graphic violence. Furthermore, there are also a number of moments where the film implements its soundtrack during scenes that I personally feel would’ve been far more effective should they have been completely silent or possibly placed more emphasis on sound design.

The main issue ‘Pet’ suffers from is the inconsistency of its writing, as although its many subversions of the horror genre immediately put it on a level higher than a large majority of modern horror flicks that entirely rely on obnoxiously loud jump-scares. Much of the film’s characterisation is ruined as a result of clunky dialogue, whether that’s due to the actual line itself or its delivery, which is unfortunate as many of the film’s extended dialogue scenes are where the story has the most to chew on, developing its characters and their motivations while simultaneously implementing its signature theme of taking advantage of the opposite sex, even if this underlining theme is fairly surface level.

In short, whilst ‘Pet’ undoubtedly has its strengths, many of them do feel undermined by its weaknesses. From Jennette McCurdy’s weak performance to the peculiar dialogue and continuous reliance on hand-held camerawork, ‘Pet’s constant tension building and subversion of classic horror tropes may not have been enough to draw in horror fans back in 2016, especially with the likes of: ‘Don’t Breathe,’ ‘Hush,’ and ‘The Autopsy of Jane Doe’ all releasing around the same time. Still, while I understand why ‘Pet’ was given so little attention, I do hope more genre fanatics stumble across this obscure horror, even if that doesn’t necessarily mean it’ll receive praise from all. Final Rating: 5/10.

pet_ver2_xxlg

Saw (2004) – Film Review

Before it became the colossal horror franchise, we know it to be today, ‘Saw’ was originally just a low-budget thriller ingeniously co-written by Leigh Whannell and debuting horror writer/director James Wan. Boasting an intricate structure consisting of flashbacks within flashbacks, the original: ‘Saw’ was far more focused on crafting a compelling (and occasionally confusing) mystery that takes place primarily within a single location rather than plainly indulging in blood and guts similar to its many sequels, and as a result, still remains the best entry of the ‘Saw’ franchise to-date.

Plot Summary: When two strangers awaken in a grimy bathroom with their ankles chained to pipes and no recollection of how they got there, the pair soon discover they’re pawns in a deadly game perpetrated by the notorious serial killer: ‘Jigsaw.’

Despite the ‘Saw’ series being predominantly known for its constant display of extreme violence, with the franchise even becoming infamous at one time for introducing the ‘Torture Porn’ subgenre to general audiences. The original: ‘Saw’ actually contains very little in the way of gore, as director James Wan never intended to make an immensely disturbing film. It was not until the sequels that the films became what he describes as “More Explicitly Nasty.” Still, this wouldn’t stop ‘Saw’ from its rampant train of success, as the first film alone would go on to earn over £90 million on a budget of only £1 million, instantly providing Wan and Whannell with the funds for their next project(s) in addition to placing ‘Jigsaw’ among the ranks of: ‘Jason Voorhees,’ ‘Freddy Kruger,’ ‘Leatherface,’ and ‘Michael Myers’ as a horror icon.

Cary Elwes and Leigh Whannell lead the film as ‘Dr. Lawrence Gordon’ and ‘Adam Stanheight’ respectively, and whilst neither actor gives a truly poor performance, Elwes easily outshines Whannell in many scenes. Obviously, this is due to Whannell being a writer (and now director) first and foremost, but with a better actor in Whannell’s place I feel many moments during the narrative could’ve been greatly enhanced. And while Danny Glover, Monica Potter, and Tobin Bell all do a serviceable job, due to Elwes and Whannell’s performances taking-up nearly the entirety of the film’s runtime, any faults in the actor’s portrayals are tremendously hard to ignore.

The cinematography throughout ‘Saw’ ranges from brilliantly clever to simply irritating, as director James Wan and cinematographer David A. Armstrong wanted the movement of the camera to reflect the central character’s emotions and personality, meaning ‘Dr. Gordon’ is displayed through steady, controlled shots while ‘Adam’ is seen exclusively through hand-held shots. Yet even with this attention to detail, ‘Saw’s camerawork suffers from its repeated inclusion of the ‘Bullet Time’ shot, first introduced in the sci-fi classic: ‘The Matrix’ in 1999. As although this shot was very impressive when it first appeared, by 2004, this overused technique of having the camera rapidly rotate around an actor feels nothing but exasperating, especially when combined with the film’s chaotic editing and often unpleasant colour palette.

Aside from the film’s signature track: ‘Hello Zepp’ which would go on to become a staple of the series, being utilised for each film’s final scene, the rest of: ‘Saw’s original score isn’t anything special. Being a mostly by-the-numbers horror soundtrack consisting of a variety of tense tracks with the occasional metallic effect thrown in to further relate to the industrial nature of: ‘Jigsaw’s many traps and devices. The sound design itself, however, significantly adds to the horror, implying much of the gruesome violence that isn’t directly seen.

As a result of its smaller-budget, there are many occasions where director James Wan had to get quite creative with how to execute certain scenes. For example, the car chase that appears later within the film was actually filmed inside of a warehouse garage, with the illusion of being outside being achieved by turning-off all of the warehouse lights, adding some fog, and aggressively shaking the cars whilst filming directly from the front. This thin budget is also why the film contains no exterior shots whatsoever, as nearly all of the film was shot in a converted warehouse where the bathroom set was built, while any other locations were simply existing rooms redressed. However, even with this restrictive budget, the production crew actually made ‘Jigsaw’s now-iconic puppet: ‘Billy’ completely from scratch instead of pre-purchasing an antique puppet from a local store.

To conclude, the original: ‘Saw’ is far from flawless, but considering the film started-out as just a low-budget short before attracting the attention of Evolution Entertainment, who immediately formed a horror-centric subcompany with Twisted Pictures, the ‘Saw’ franchise has truly come a long way. And although the series’ first instalment is certainly plagued with many problems, there is a clear level of passion and effort poured into the project, and whilst I wouldn’t say it deserves to be one of the most profitable horror films of all time, I would say it deserves a watch even if you’re planning to pass-up the rest of the progressively grotesque franchise. Final Rating: 6/10.

2004-saw-3

V/H/S (2012) – Film Review

Combining six found-footage horror stories from upcoming filmmakers of the time, 2012’s ‘V/H/S’ was a pretty ambitious indie horror upon its initial release. As while the film didn’t exactly reinvent the found-footage subgenre or avoid the usual problem anthologies tend to run into with its segments greatly ranging in quality, ‘V/H/S’ does manage to overcome some of its flaws through its eldritch stories and unique 1990s aesthetic, yet the film still pales in comparison to classic horror anthologies like ‘Creepshow’ and ‘Body Bags’ or its much improved sequel: ‘V/H/S/2.’

Plot Summary: When a group of misfits are hired by an unknown party to break into a desolate house and acquire a rare VHS tape, they are surprised to come across the owner’s decomposing body sat in front of a wall of video monitors and an endless supply of VHS tapes, each containing a piece of footage more disturbing than the last…

Although nowadays found-footage horror feels mostly played-out and even quite creatively limiting, ‘V/H/S’ does attempt to utilise its concept in the best way possible. Having its wraparound story titled: ‘Tape 56’ explain the other five, as every VHS tape a member of the group watches are the same stories we as the audience are seeing, it’s just a shame that this central narrative goes pretty much nowhere, only seeming to exist for the sake of the film’s anthology structure rather than to provide the film with a terrifying and memorable climax. But it does help that this segment takes place in the same house as the ‘Marble Hornets’ web series, also known as the YouTube series that popularised the internet icon: ‘Slender Man.’

Due to the film featuring multiple stories, the huge cast of: ‘V/H/S’ ranges about as much as the segments themselves, as whilst no performance throughout the film is particularly bad, no performance is truly excellent either with the exception of Hannah Fierman as ‘Lily,’ who gives a very animalistic and continuously unnerving performance in the film’s first segment: ‘Amateur Night.’ Yet I don’t think this is entirely down to the cast, as ‘V/H/S’ does suffer from an overall lack of characterisation, which while hard to avoid in an anthology film where each story is given a limited timeframe, ‘V/H/S’ simply chooses to fit all of its characters into a certain stereotype and not development them at all beyond that.

The cinematography during every segment of: ‘V/H/S’ remains fairly consistent despite being handled by an array of cinematographers, and while the camerawork is very familiar for a grungy found-footage flick, the film’s assortment of glitch and static effects, grainy overlays, footage corruptions, and occasionally chaotic editing all help to ground many of the segment’s supernatural elements in an almost documentary-like realism. And in spite of: ‘V/H/S’s lower-budget, all the film’s directors including Adam Wingard, David Bruckner, Ti West, Glenn McQuaid alongside Tyler Gillett, Justin Martinez, Matt Bettinelli-Olpin, and Chad Villella under the title of: ‘Radio Silence,’ each try their hardest to distinguish their segment from the others.

Being a found-footage film, ‘V/H/S’ doesn’t have an original score, but with the film’s visuals leaning heavily into glitch and static effects, the sound design backs up these effects with a distorted soundscape, adding tension to a number of scenes. And even though the film only features one licensed song, that being: ‘They Come to Get Us,’ it does fit well over the film’s end credits.

But ‘V/H/S’ doesn’t escape the most common issue of anthologies, as there is certainly a noticeable shift in quality between its segments. As while I thoroughly enjoy the previously mentioned: ‘Amateur Night,’ the second and third stories titled: ‘Second Honeymoon’ and ‘Tuesday the 17th’ respectively, are a drastic downgrade, with the first being an incredibly dull slow-burn thriller, and the second being nothing but a cringy retelling of a ‘Friday the 13th’ film as the title implies, neither of which are very memorable or creative, and feel like a chore to get through. However, these lacklustre segments are redeemed by the last two stories, as both ‘The Sick Thing That Happened to Emily When She Was Younger’ and ’10/31/98′ do implement some more inventive ideas even if they aren’t totally flawless in execution.

Altogether, ‘V/H/S’ has its strengths but also a great deal of weaknesses, having many of its spectacular moments of horror spoilt by weak writing or the restrictions of its anthology structure, making for an occasionally enjoyable but very inconsistent experience. So, while I personally think ‘V/H/S’ is worth at least one viewing for fans of horror anthologies, just bear in mind that the film never quite reaches the same heights as some others including its own sequel. And despite the third entry in the series: ‘V/H/S: Viral’ being an enormous disappointment for me, I’d still love to see the low-budget franchise continue. But with a prequel titled: ‘V/H/S/94’ being brought to the table by young filmmakers in 2019, only to then never be mentioned again, it seems the future of this series (at least for now) is unforeseeable, even if the first two films are sure-fire candidates for obtaining a cult status. Final Rating: low 6/10.

vhs_xlg

Spree (2020) – Film Review

The world of social-media influencers vying for clicks, likes, views and retweets all to achieve viral fandom is a twisted one, and ‘Spree’ is far from the first film to delve into this subject matter with a satirical lens. What makes the film different is its secondary inspiration, being based on the true story of an Uber driver who went on a killing spree in early 2016, ‘Spree’ has plenty of comically violent scenes to accompany its social-media commentary. Yet even in spite of Joe Keery’s magnetic screen-presence, ‘Spree’ is a film that always feels as if it’s on the verge of being something exceptional, but it’s reach far exceeds its grasp.

Plot Summary: Desperate for an online following, twenty-three-year-old wannabe influencer and rideshare driver: ‘Kurt Kunkle’ devises a malicious scheme to go viral, installing a series of cameras inside his rideshare car in order to film his unsuspecting victims as they meet a gruesome end…

Co-written and directed by Eugene Kotlyarenko (A Wonderful Cloud, Wobble Palace, We Are), ‘Spree’ was initially envisioned as a claustrophobic horror based around the story of the previously mentioned serial killing Uber driver who claimed a “Devil Figure” inside of the rideshare app was controlling his actions. And although this terrifying true story would have certainly provided enough inspiration for an indie horror, Kotlyarenko and co-writer Gene McHugh soon began to swerve more into dark comedy after giving the killer an intense craving for attention. This eventually evolved into the film’s central theme of social-media obsession, which while often used to great effect to mock online influencers, does frequently feel underdeveloped and retracts from the film’s tension, pushing ‘Kurt’s killing spree into the background in exchange for awkward character moments, which will inevitably disappoint those hoping to see plenty of grisly kills.

Joe Keery portrays the film’s psychotic protagonist: ‘Kurt Kunkle,’ who is suitably just as upbeat and inappropriate as many real-world influencers. This realism is most likely a result of Eugene Kotlyarenko and Joe Keery’s research, as the pair watched many cringe compilations of people online without a big following to help create the character, and this comes across through Keery’s body movements and relentless optimism, making for an occasionally irritating yet charismatic protagonist as ‘Kurt’ always remains hopeful his night of murder will increase his follower-count after trying (and failing) for the past decade. It’s just unfortunate that ‘Kurt’ doesn’t receive much development over the course of the runtime aside from one or two scenes, with much of: ‘Kurt’s life outside of the internet being left a mystery.

The cinematography by Jeff Leeds Cohn is obviously in the style of found-footage, but rather than simply having ‘Kurt’ film his every move similar to most found-footage flicks, the camera itself takes on numerous forms as the story is seemingly spliced together through iPhone cameras/screens, dash-cams, bodycams and even CCTV footage. Yet despite this ever-changing camerawork ensuring ‘Spree’s visuals stay varied, there does come a point when it begins to feel as if the film is simply piling on footage, even sometimes having three shots displayed at once through a split-screen effect which does become slightly overwhelming, especially when combined with the film’s rapid-editing.

Whilst there a few found-footage films that have successfully integrated an original score without taking away the sense of realism the subgenre provides, ‘Spree’ is most definitely not one of those films. As although the pulsing electronic score composed by James Ferraro does help to build excitement, the film’s soundtrack often plays over scenes with no clear in-world source, which does greatly dampen the illusion of the film being found-footage.

Of course, with ‘Spree’ having a heavy focus around all things social-media, it would be crucial that the film stays truthful to what the internet is actually like (even through its cynical view). And while the film does have many scenarios that feel as though they lack realism, whether that’s due to incredibly forced dialogue or ‘Kurt’s beyond-moronic actions when trying to avoid the Los Angeles police force, anytime the film displays a phone screen there is a certainty that every app/website will be a real brand and will be overflowing with detail. For example, ‘Kurt’s constant livestreaming never shies away from reality, meaning his stream’s comments are always rapidly unfurling with insults, jokes, and questions all from distinct usernames, which according to Eugene Kotlyarenko, took him over forty-nights to write out.

In short, Joe Keery’s entertaining performance can’t distract from ‘Spree’s shallow critique of social-media. As whilst some may argue the story’s lack of depth is precisely the point, for me the film feels as if its unsure as to what to do with its concept, which is greatly disappointing. As I personally think a dark comedy revolving around the obsessive culture of social-media is ingenious, and films like ‘Ingrid Goes West’ prove this idea can be executed well. ‘Spree,’ however, fails to deliver on this or its even promise of a violent and comedic thrill ride. So, while I do still believe the film will have a niche appeal, ‘Spree’s apparent flaws are likely to stop most from hitting the subscribe button. Final Rating: high 4/10.

hJUA4wfvw0A6l3niOfxourqpERA

Gravity (2013) – Film Review

A survival drama set almost entirely in the unfathomable abyss of outer-space, 2013’s ‘Gravity’ is equal parts tense and beautiful. Taking over four years to produce and winning numerous Oscars back in 2014 for everything from its effects to its cinematography to its sound editing, ‘Gravity’ serves as not only the long-awaited follow-up to director Alfonso Cuarón’s previous sci-fi film: ‘Children of Men,’ but also as one of the most immersive films to ever take place in the inhospitable vacuum of space.

Plot Summary: On her very first mission aboard the NASA space shuttle: ‘Explorer,’ novice biomedical engineer: ‘Dr. Ryan Stone’ and her accompanying seasoned astronaut: ‘Matt Kowalski’ come face-to-face with an irrevocable disaster during a routine spacewalk when a barrage of debris from a crippled Russian satellite inflicts devastating damage to their shuttle, leaving them both stranded in orbit…

Co-written by Alfonso Cuarón and his son Jonás Cuarón, ‘Gravity’ is many ways less of a science fiction flick than it is a film grounded in real-world science, as it quickly becomes clear whilst watching ‘Gravity’ that the pair did their research into the fundamentals of space, presenting the narrative almost as if it’s based on a true story oppose to relying on flashy explosions to morph the film into a generic sci-fi blockbuster. Yet interestingly, author Tess Gerritsen actually filed suit against Warner Bros. Pictures following ‘Gravity’s release, claiming the film was unofficially based on her novel and that she was entitled to a screen credit and a fair percentage of the film’s profits, but this was never proven to be true, even if both stories do share many similarities.

With around 80% of the film being shot on a green-screen or consisting of CGI, there were plenty of opportunities for the performances throughout ‘Gravity’ to be underwhelming. And yet, this is not the case, as Sandra Bullock and George Clooney both give brilliant performances here, with Bullock in particular impressing not only due her acting chops, but also her memorisation skills. As with Alfonso Cuarón bringing his signature lengthy takes into ‘Gravity,’ Bullock had to memorise long combinations of precise movements in order to hit her marks for each shot, often even having to coordinate her movements with those of the wire-rig and the camera, which is no easy task.

Brimming with many, many stunning shots in addition to the previously mentioned one takes. ‘Gravity’s cinematography by Emmanuel Lubezki rarely ceases to amaze, as the film wastes no time in capturing the audience’s attention by jumping straight into the story with its opening scene, which begins with the camera traveling from an establishing shot of Earth over to ‘Dr. Stone’ detaching from a structure all without a single cut, which in total, lasts around twelve and a half minutes. That being only one aspect of the impressive camerawork ‘Gravity’ displays, another being the film’s excellent use of P.O.V. shots which place the audience directly into ‘Dr. Stone’s space suit, further adding to the film’s tense atmosphere. Furthermore, all of the film’s cinematography is greatly elevated by the magnificent lighting, editing, and CG effects which back it up.

As a result of: ‘Gravity’s realistic approach, for a large majority of the film’s nighty-nine-minute runtime there is little sound heard aside from dialogue, this places a lot of pressure onto the film’s original score by Steven Price, which luckily, manages to strike the perfect balance between terror and wonder. As tracks like ‘Above Earth,’ ‘Debris,’ and ‘Don’t Let Go’ push the score into becoming a remarkable exploration of the absolute isolationism of outer-space. Gradually building-up with pulsing electronic beats and gloomy vocals, until it eventually expands in intensity and volume alike, capturing the fear of what lies beyond the stars just as it does with the beauty.

The most common criticism ‘Gravity’ has faced since its release is that the film is focused more on spectacle than anything else, as while all of: ‘Gravity’s large-scale set-pieces are usually beyond-thrilling, some shots do feel as if they were implemented purely for the sake of 3D and IMAX screenings, which is difficult to ignore. This alongside the film’s lack of development in some areas does leave ‘Gravity’ a little devoid of memorability when compared to some other iconic films set within the vast emptiness of space, e.g. ‘Ad Astra,’ ‘2001: A Space Odyssey,’ and ‘Moon.’

In conclusion, whilst ‘Gravity’ may not live-up to the immensely positive reviews its received in recent years, it is still a captivating piece of science fiction and a true marvel of filmmaking. It’s just for me personally, I find the actual filmmaking process and behind-the-scenes material of: ‘Gravity’ far more interesting than the story itself, perhaps that’s due to its underdeveloped characters or another element entirely. Regardless, I feel even with its issues, ‘Gravity’ will remain a testament as to what can truly be achieved with modern technology when it comes to film. Final Rating: high 7/10.

gravity_xxlg

The Void (2016) – Film Review

An excellent throwback to 1980s sci-fi and horror, ‘The Void,’ released in 2016 and directed by duo Jeremy Gillespie and Steven Kostanski, first began its life as a simple idea with two passionate minds behind it. As this surprisingly crowdfunded project makes remarkable use out of its thin-budget especially when considering the film’s many potentially expensive set-pieces, displaying its huge array of fantastic creature designs/effects, colourful lighting, and creative cinematography with enough confidence and innovation to keep any genre enthusiast enthralled.

Plot Summary: After ‘Sheriff Deputy Carter’ stumbles across a blood-soaked man limping down a deserted road, he quickly rushes him to a local hospital with a barebones, night shift staff. But when a series of strange events occur within the hospital, seemingly linked to a group of cloaked figures standing just outside the building, ‘Carter’ decides to lead a mission into the hospital’s basement to find an exit, only to discover something far more concerning…

Even though ‘The Void’ did have a handful of producers on-board more familiar with the horror genre, as mentioned previously, the film was primarily a crowdfunded project, earning most of its budget in addition to a limited theatrical release in 2017 as a result of its online community of donators and fans. And its not exactly difficult to understand why many fanatics of sci-fi and horror alike were so interested in supporting the film, as immediately from the stylised intro any fan of 1980s cinema can tell ‘The Void’ is truly a love letter to everything 80s, with the film’s narrative clearly taking heavy inspiration from classics like ‘The Beyond,’ ‘Night if the Living Dead,’ ‘Re-Animator,’ and, of course, pretty much all of John Carpenter’s filmography. Yet despite all of these influences, ‘The Void’ also manages to never feel overly derivative, even with the film’s plot sharing many similarities to the cult horror: ‘Prince of Darkness’ from 1987.

The cast of: ‘The Void’ is primarily comprised of unknown actors, which is by no means a bad thing, as the cast give solid performances across the board even in spite of their fairly one-note characters, with Aaron Poole, Kathleen Munroe, Daniel Fathers, Mik Byskov, Evan Stern and Ellen Wong portraying the main group of staff and survivors trapped within the hospital’s walls quite well. But the real stand-out of the film has to be Kenneth Welsh as ‘Dr. Richard Powell,’ easily the compelling character of the story who undergoes some enormous changes over the course of the runtime.

Samy Inayeh handles the film’s cinematography and handles it well, as whilst there are plenty of moments where the camerawork is far too reliant on hand-held shots, the film manages to even itself out over time with plenty of visually-appealing ones. However, it’s the lighting and colour palette that are certainly the most visually impressive elements of the film, as ‘The Void’ jumps from harsh reds to cold blues almost from scene-to-scene, not only to add to the film’s unearthly atmosphere of dread, but also to help hide some of the film’s budgetary shortcomings. Furthermore, the story’s signature location of an empty hospital is a very distinct setting for a horror such as this, as the building seemingly becomes more unnatural and dilapidated the further the characters explore it.

For its original score ‘The Void’ actually had quite a large group of composers (five in total), who expertly crafted a classic 1980s synth score with undertones of dark horror, which greatly adds to both the film’s style and atmosphere. And although the film’s soundtrack is usually more atmospheric than cinematic, tracks such as: ‘Starless Night’ and ‘A Hole in the World’ prove the score does have some memorability amongst its many foreboding tracks.

Partly due to the film’s budget and partly due to Gillespie and Kostanski wanting to use as little CGI as possible, ‘The Void’ is a science fiction flick that delights in its practical effects. Ensuring every creature design and the costumes and/or prosthetics that bring them to life are nothing but flawless, from their skin to their teeth to their various tentacles (of which the film seems to relish in), nearly every aspect of each creature looks truly spectacular, and its these otherworldly designs alongside the film’s over-the-top gore and buckets of blood that help create some genuinely disturbing moments.

All in all, I feel ‘The Void’ succeeds in being an enjoyable throwback to many people’s favourite decade for sci-fi and horror, with its astounding filmmaking and many impressive practical effects all resulting in plenty of thrills and chills. And although some may argue the film lacks much in the way of originality, I’d argue otherwise. As I feel ‘The Void’ is less of a capsule for nostalgia and references for all things 80s, and more of a tribute to what came before it, never quite matching-up to many of the films from the time-period its referencing, but still raising the bar for indie filmmaking and crowdfunded projects in its best moments. Final Rating: high 7/10.

the-void-poster