Release Year: 2012

The Place Beyond the Pines (2012) – Film Review

/ Joe Baker / Leave a comment

“If You Ride Like Lightning, You’re Going to Crash Like Thunder.” – Robin

Successively suspenseful and dramatic, The Place Beyond the Pines, released in 2012, is a thrilling crime-drama recounting a tale of fatherly sins visited by their descendants. Efficiently co-written and directed by Derek Cianfrance (Blue Valentine, The Light Between Oceans, Sound of Metal), The Place Beyond the Pines utilises its decade-spanning story and outstanding performances from its extensive cast to construct a film that succeeds both as a high-stakes crime-thriller, and a far quieter, more empathetic character study of enraged, solitary men, ascertaining Cianfrance’s penchant for bold storytelling and eye for sighting the cast members to carry his stories through to their climax.

Plot Summary: When Luke, a high-wire motorcycle stuntman, passes through Schenectady, New York, as part of a travelling carnival, he reconnects with his former lover, Romina, discovering that, in his absence, she has given birth to their son, Jason. Determined to give his son the upbringing he never had, Luke renounces his life on the road to provide for his new family, taking an underpaid job as a car mechanic before committing a series of bank robberies aided by his exceptional motorcycle skills, eventually placing him on a collision course with the ambitious police officer, Avery Cross…

Unfolding over fifteen years, the actual narrative of The Place Beyond the Pines is undoubtedly one of the film’s finest aspects, disclosing an engaging and dreary tale, all within the confines of Schenectady and its surrounding woodland. The first two acts of the story, which almost feel like distinct ‘chapters,’ are consistently compelling and narratively unpredictable. Unfortunately, however, the strengths of the first two acts are diluted in the somewhat meandering third act, which is admittedly weaker than those that precede it, concluding the story with something of an anticlimax. Nevertheless, it is a uniquely structured plot, conforming to the notion of generational sins.

In the first act, the story revolves around the travails of Luke, portrayed by Ryan Gosling, a heavily-tattooed motorcycle stuntman living a freeing life on the road before he learns his former lover, Romina, portrayed by Eva Mendes, has given birth to their son. Given something to care about in his life, Luke decides to abandon his trivial lifestyle to become a suitable father figure, plunging into a dead-end job before taking a friend’s suggestion to rob banks. From here, Luke rides the line between logical and immoral, performing vile acts in the hope of earning money to fuel better ones, making for an instantly compelling character as Gosling suitably delivers a nuanced, moody performance riddled with pathos. Likewise, Avery Cross, excellently portrayed by Bradley Cooper, is a captivating protagonist in the second act. Serving as one of the police officers tasked with finding Luke, Avery is a well-educated officer keen to prove himself and move up the ranks of law enforcement. But, as his time in the force grows, Avery begins to see the deep level of corruption within his department, conveying underlying social commentary that is even more relevant today. Lastly, in the third act, the narrative switches focus to the sons of Luke and Avery, Jason and AJ, portrayed by Dane DeHaan and Emory Cohen, respectively, fifteen years after the previous acts. And despite DeHaan and Cohen delivering admirable performances as both characters inherit some of their father’s traits, this act and its protagonists are less gripping than the previous two, as previously mentioned.

When it comes to the visuals, the cinematography of The Place Beyond the Pines is largely dominated by hand-held shots. Fortunately, these shots are considerably less distracting (and motion sickness-inducing) than many other flicks where this style of camerawork is employed. However, Sean Bobbitt’s cinematography is undoubtedly at its most effective in one particularly exhilarating chase sequence, seemingly accomplished in one unbroken take as it’s shot entirely through the window screen of a police car pursuing Luke on his motorcycle.

In spite of the many moments of violence and tension, the original score by Mike Patton is unexpectedly soothing. Patton, who is most known as the lead singer of the alternative metal band, Faith No More, made his debut composing for film with the action sequel; Crank: High Voltage, in 2009, The Place Beyond the Pines being his third score, and easily his most impressive to date. A combination of electronic tones, electric and acoustic guitar accents and a sampled choir, the soundtrack retains many beautiful tracks, the most notable being; The Snow Angel, a lonesome piano-led motif that is only heard once during the runtime yet is exceptionally memorable, even appearing in one of the film’s trailers. 

Intriguingly, Derek Cianfrance claims that his financier would only provide him with the budget he desired if he reduced the one hundred-and-fifty-eight-page screenplay to one hundred and ninety pages. Without removing anything, Cianfrance sneakily used a smaller font and extended the margins, which I’m thankful for as, in my opinion, virtually every scene throughout The Place Beyond the Pines is important.

In summary, in trying to convey such a monumental amount of story, The Place Beyond the Pines does sometimes spread itself too thin and leave some strands incomplete, but when the film is at its best, it is an enthralling and well-written piece of storytelling. And while its underlying themes are weighty, Derek Cianfrance’s strong direction and surprisingly effective use of hand-held camerawork result in a disquieting style that snappily underplays the drama and uncertainty. Rating: low 8/10.

place_beyond_the_pines_xxlg (1)

Project X (2012) – Film Review

/ Joe Baker / Leave a comment

“I’m Gonna Go Have a Long Cry, and Then Start Calling Some Lawyers.” – Costa

Partially based on a real house party that occurred in Melbourne in 2008, where the then-sixteen-year-old Australian teenager, Corey Worthington, posted his home address on MySpace, attracting around five-hundred people to his home and subsequently causing over $20,000 in property damage. 2012’s Project X undeniably has its flaws, yet through its efficacious use of the found-footage format and fantastically over-the-top narrative, this teen comedy is a surprisingly engaging watch. Standing as one of the rare entries in the found-footage genre to feature no horror content whatsoever, Project X will no doubt repel some older audience members on account of its typically teenage characters and near-constant use of foul language. Yet, for the younger generation, this comedic flick will maintain its appeal thanks to its terrific utilisation of its central concept and real-world inspirations.

Plot Summary: As their tenure as high school seniors draws to a close, two friends, Costa and JB, attempt to finally make a name for themselves by throwing a life-changing birthday party for their friend, Thomas. But, as word of their prodigious house party spreads online, the situation quickly begins to spiral out of control as the guest list rises rapidly…

Directed by Nima Nourizadeh (American Ultra) and produced by Todd Philips, director of many renowned comedies, including The Hangover, Old School and War Dogs. Project X mines the depths of the teen comedy and found-footage genres to deliver eighty-seven minutes of enjoyable debauchery, with its runtime largely consisting of music video-type sequences that fully indulge in the colourful chaos of a neighbourhood-spanning party. And while some moments, such as a scene where a dwarf makes his way through Thomas’ house punching various partygoers in their crotches, could be seen as rather far-fetched, other moments are unexpectedly hilarious thanks to their increasing absurdity. That being so, I would encourage first-time viewers to blindly go into Project X so they can experience many of the film’s surprises first-hand.

The comradery between the central three friends desperately tries to recall those in quintessential teen comedies like Superbad and American Pie, but unlike those earlier films, the leading trio of Thomas, Costa and JB can occasionally come across as somewhat repugnant, despite being sufficiently portrayed by Thomas Mann, Oliver Cooper and Jonathan Daniel Brown, respectively. This is primarily due to the characters being written as authentic teenagers, depicting them as immature, foul-mouthed, impassioned youths who are clearly lacking in favour at their local high school. And whilst none of the characters receive much development beyond this basic level of characterisation, I feel that unlikeability in some scenes is just a repercussion of making the trio seem like genuine teenagers bearing teenage traits. That’s not to say, however, that you don’t feel sorry for Thomas once he starts to panic at the sight of his house being defiled, evidently suffering the consequences of submitting to his friends’ grand scheme.

Shot on a set instead of a real neighbourhood to minimise local disruption, a decision that proved to be a wise one as the set was essentially trashed during production. The cinematography by Ken Seng is realistically shaky and boisterous similar to many other found-footage films, yet still manages to be clear enough to impressively place the audience in the middle of Thomas’ larger-than-life birthday extravaganza. Moreover, to add to the realism, some pieces of footage were shot by the supporting cast with handed-out phones, which all varied in quality or retained visual distinctions to stand out. Another reason Project X looks as captivating as it does is a product of the film’s excellent use of colour, which steadily grows in variation as the party grows in size, making great use of the dynamic lighting setups Costa hires out for the party.

Lacking an original score as a result of its found-footage format, Project X places much of its auditory focus on its remarkable soundtrack, as dance songs like Pursuit of Happiness, Heads Will Roll and Le Disko, perfectly match the upbeat, stimulating atmosphere of a congested house party. And although the film places some of its songs over sequences where non-diegetic music shouldn’t really be present, such as a tumultuous moment in which a riot ensues and the rock song; Battery by Melltaica, is heard. I am willing to ignore that irritation on the basis that the songs chosen for each scene feel more than suitable, adding to the underlying sensation of each sequence, whether that be chaotic or cordial.

Interestingly, many of the minor antics throughout Project X were improvised by the supporting cast, including a scene where a female partygoer gets caught urinating behind a car. Many of these moments add to the pandemonium of the story, appearing inspired by scenarios the filmmakers found themselves in at actual house parties. These short, humourous shots also help redeem the screenplay’s handful of on-the-nose dialogue, especially from minor characters like Thomas’ parents before they leave for the weekend.

In summary, even though the mere notion of Project X will almost certainly turn off any audience members over the age of twenty-five, considering that the plot revolves around dancing and consuming various substances until 05:00 am. I am keen to encourage those on the fence to give the film a chance, as I believe Project X thrives as a teen comedy and will leave many feeling as if they’ve just attended the most epic house party in existence. Rating: 7/10.

project_x-p630878

Silent Night (2012) – Film Review

/ Joe Baker / Leave a comment

“I’m on His Tail Now. There’s Nowhere Safe…” – Sheriff Cooper

One of the most controversial films of the 1980s, primarily due to its promotional material, which featured a killer Santa Clause brandishing an axe as he emerged from a chimney. Silent Night, Deadly Night, released in 1984, is well-known amongst horror fans for its bizarre legacy, spawning a franchise consisting of four low-budget sequels that had barely any relation to each other, yet still gained a cult following thanks to their bewildering stories and unintentionally hilarious moments. Years later, in 2012, we received Silent Night, a remake of the original film that reimagines the concept of a murderous Father Christmas for modern audiences, utilising its attractive visuals and creative kills to provide slasher fanatics with their fill of ho-ho-horror, even if Silent Night is filled with many of its own unique issues.

Plot Summary: When a sadistic serial killer dressed as Santa Clause embarks on a Christmas Eve rampage through a remote Midwestern town, the local police force must follow the killer’s trail of victims in the hope of uncovering his identity and averting the rest of his festive bloodbath…

Partially inspired by the 2008 Covina Holiday Massacre, during which, forty-five-year-old, Bruce Jeffrey Pardo, killed nine people at a Christmas party whilst wearing a Santa Clause suit. Silent Night isn’t the first voyage director Steven C. Miller (The Aggression Scale, Marauders, The Line of Duty) has taken into the horror genre, though, it may be his goriest as Miller along with screenwriter Jayson Rothwell, up the ante from the original film by jumping straight into the violence, having the kills drive the story forward as they occur one after another. However, the screenplay certainly falls short when it comes to some other aspects such as developing the characters or building intrigue regarding the true identity of the masked killer as the characters are insipid and the mystery uninteresting, making the film’s climactic plot twist feel less than galvanising, which is only made worse by the overcompensating dialogue.

The central cast of Jaime King, Malcolm McDowell, Donal Logue and Ellen Wong all try their hardest at giving their lifeless characters a personality and a reason for the audience to empathise with them, but it’s a largely wasted effort as King and Logue merely go through the motions as small-town police officers with a few glimmers of characterisation. While McDowell truly steals the spotlight as a dimwitted and pompous sheriff, often coming across as if his performance was taken from another film entirely. Then there is veteran stuntman, Rick Skene, who fulfils the demanding physical requirements of the killer Santa without saying a word, using his size and threatening demeanour to great effect.

Contrasting the horrific bloodshed of the story with a candy-coated aesthetic of stereotypical Christmas traditions, the cinematography by Joseph White allows for a number of visually interesting shots throughout the runtime, nearly all of which are enhanced by the festive colour palette, which employs an abundance of bright red, green and blue lights to make potentially bland locations, such as the police station or a motel, more visually appealing. And despite the moments of barbaric murder frequently falling back on hand-held shakiness in a feeble attempt of increasing the brutality of said murders, Silent Night does redeem itself during its flashback sequences as these scenes are entirely coated in black and white, aside from the killer Santa’s suit, which remains a glowing red.

Contrarily, the original score by Kevin Riepl is a blaring and often tedious horror soundtrack, as outside of the track; Sheriff Cooper, which strangely contains a guitar riff that sounds as if it’s from a ’70s crime-thriller. The majority of the score, including the tracks; The Chipper and Rack Mounted, are simply loud and unexceptional. Of course, being a film set at Christmas, the film also features a handful of renowned Christmas songs such as Up on the Housetop and Deck the Halls, which thankfully aren’t overused.

Although Silent Night, Deadly Night had its fair share of gore, Silent Night takes its gruesome violence to another level, as the bloodthirsty Santa make use of a range of tools including an axe, a cattle prod, a scythe and even a flamethrower, in addition to constantly exploiting the environment around him, such as a scene where he impales a teenager onto a mounted set of deer antlers in a clear reference to the original film. What’s more, all of the practical effects seen throughout these moments are magnificent, rarely relying on CG enhancements for further shock factor.

In summary, Silent Night is a modern slasher with its heart firmly in the ’80s, and I say that as a good thing as rather than being dull and instantly forgettable, it maintains the same level of cheese, dark humour and seduction as Silent Night, Deadly Night, but as a result of its modern techniques, looks far better than most horror remakes/reimaginings. So, it’s truly a shame that the screenplay and original score continuously let the film down as with a few improvements, Silent Night could’ve gone down as a certified Christmas horror classic. But, as it stands, while the film is far from a masterpiece, Silent Night will please fans of the series as well as those seeking a festive slasher. Rating: high 5/10.

silent_night_xxlg

Dredd (2012) – Film Review

/ Joe Baker / Leave a comment

“Negotiation’s Over. Sentence Is Death.” – Judge Dredd

A considerably overlooked film when it comes to the sci-fi genre, Dredd, written by Alex Garland and directed by Pete Travis (Vantage Point, Endgame, City of Tiny Lights), centres on said character. Whose comic strip in the science fiction anthology series; 2000 AD, was one of the longest-running in the magazine’s history, being featured since its second issue in 1977. Merging futurism with law enforcement, Dredd and his fellow Judges are empowered to arrest, sentence and even execute criminals on the spot, and this modern film adaptation, fuelled by much of the same bombastic violence and sci-fi imagery, does a remarkable job of capturing its source material’s gritty spirit.

Plot Summary: In a dystopian future on the American East Coast lies the overpopulated and crime-ridden metropolis known as Mega-City One, police have the authority to act as judge, jury and executioner. Within this city, one of these officers, the resolute, Judge Dredd, is assigned to assess rookie, Cassandra Anderson, as the two are ordered to reach the top of an apartment complex and stop Ma-Ma and her clan from manufacturing and distributing narcotics. But, when the pair enter the complex, they find themselves ensnared as Ma-Ma locks down the building, forcing Dredd and his newfangled partner to fight their way out, one level at a time…

Technically a reboot following the character’s first cinematic interpretation with 1995’s Judge Dredd, which featured Sylvester Stallone as the titular character. Dredd is a far more faithful adaption, as while Stallone may have looked the part, it was clear that the film itself thoroughly misunderstood the source material. Dredd, however, immediately thrusts its audience into a riveting and intense story, which considering how self-contained it is, also manages to fit a surprising amount of world-building in between. Hinting towards the many other districts of Mega-City One we could’ve seen should Dredd have been a box office success rather than the commercial disappointment it sadly was, earning a little over £41 million on a budget of £45 million.

Speaking only when necessary and never giving even the slightest hint of emotion, Karl Urban portrays the film’s protagonist, Judge Dredd, with extreme accuracy. Illustrating Urban’s clear understanding of the role, just as he does in the original comic strips, Dredd never breaks temperament or goes through a moving character arc. Instead, Dredd is simply an incorruptible officer with no time for low-life criminals and Urban nails this portrayal, even with half his head obscured by a helmet for the entirety of the runtime. Dredd’s partner, Cassandra Anderson, portrayed by Olivia Thirlby, is also a compelling character, demonstrating a level of skill far below her superior yet possessing psychic abilities which make her too valuable to dismiss. Lastly, there is Ma-Ma, the film’s antagonist, who was originally written as an elderly woman before Lena Headey convinced Alex Garland to make her a middle-aged misandrist. And although there isn’t the same depth to her character as Dredd or his rookie partner, Ma-Ma is still a convincing felon, as Headey portrays a ruthless individual living in an equally ruthless world.

Playing into the idea of this post-apocalyptic world being in constant disarray, Dredd‘s grimy set design along with its murky brown colour palette presents the setting of Mega-City One (a.k.a. Johannesburg with a few CG enhancements) as a rundown metropolis with similarly rundown technology. Correspondingly, the filthy hallways of the apartment complex, Peach Trees, are always permeated with litter, aged sci-fi scrap and spray-painted walls. Moreover, the film is given a great sense of style through the energetic camerawork by Anthony Dod Mantle and the smooth integration of CG effects, which outside of a handful of scenes where the film fully indulges in graphic violence by having blood flung towards the camera, have aged admirably.

As you’d expect from a pessimistic sci-fi film, the original score by Paul Leonard-Morgan is both rousing and brooding, with tracks like Mega-City One and You Look Ready, all perfectly accompanying what’s on-screen through their heady mix of guitar riffs and thumping electronic beats. Making for a score that, even with only twenty tracks, has no real filler, as every musical piece flawlessly correlates with the film’s fast-paced action.

Continuing to be true to the original comic strip, Dredd’s primary form of transportation: the Lawmaster Motorcycle is faithfully recreated for the film, as the production team created a series of functional bikes for filming. They achieved this by having the chassis of normal bikes extended and then adding custom fairings as well as fitting the bikes with larger tires so they could remain operable. In a similar sense, Dredd’s iconic outfit is also recreated, only being slightly modified to give the suit a sleeker, more modernised look.

In summary, though many may see this sci-fi action-thriller as pure style-over-substance and nothing else, Dredd is a film deeply committed to the genres it’s trying to represent. With thrilling action sequences, substantial world-building and impressive visual effects all rooted in deadpan humour, Dredd is a more than entertaining ride. And in a world full of compromised adaptations where self-indulgent directors and screenwriters make whatever changes they desire without much thought or consideration. Dredd is something of a triumph, as the film avoids the common misstep adaptations tend to take, where the final product ends up bearing little resemblance to its source material aside from the title. Rating: low 8/10.

dredd-p689332

The Grey (2012) – Film Review

/ Joe Baker / Leave a comment

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 soundstage, 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

Sinister (2012) – Film Review

/ Joe Baker / Leave a comment

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

V/H/S (2012) – Film Review

/ Joe Baker / Leave a comment

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. While the film doesn’t exactly reinvent the found-footage subgenre or avoid the usual problem anthologies tend to run into with their various 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 cringey 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 barely be mentioned since, 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

Chronicle (2012) – Film Review

/ Joe Baker / Leave a comment

In spite of its short runtime and novice director, ‘Chronicle’ is both a unique and refreshing take on the found-footage sub-genre. Diverting from the usual teen horror stories that have completely overtaken the found-footage style for a more sci-fi-esque narrative, which overcomes its gimmicky camerawork and occasionally dated CG effects through riveting moments of action, fast-paced direction and charismatic performances from its young cast.

Plot Summary: After three high-school friends venture into a mysterious hole which travels deep beneath the Earth, they reemerge with incredible telekinetic abilities, with introvert: ‘Andrew’ becoming the most powerful of the three. But as ‘Andrew’ struggles to cope with his mother’s terminal illness and his father’s alcoholic abuse towards him, his friends ‘Matt’ and ‘Steve’ soon realise ‘Andrew’s abilities are beginning to consume him…

Directed by the infamous Josh Trank (Fantastic Four, Calpone) and written by Max Landis, best known for his work on Netflix’s ‘Bright’ and ‘Dirk Gently’s Holistic Detective Agency.’ ‘Chronicle’ takes a lot of inspiration from modern superhero blockbusters, which in a way is ironic, as cast members Dane DeHaan and Michael B. Jordan would later go on to star in big-budget superhero films, with DeHaan portraying ‘Harry Osborn/The Green Goblin’ in ‘The Amazing Spider-Man 2’ and Jordan going on to portray ‘Johnny Storm’ in the ‘Fantastic Four’ remake as well as the threatening antagonist: ‘Killmonger’ in 2018’s ‘Black Panther.’ So, for DeHann and Jordan, ‘Chronicle’ essentially served as the jumping-off point for their future careers.

Before filming actually began on ‘Chronicle,’ director Josh Trank had actors Dane DeHaan, Alex Russell and Michael B. Jordan live in a house together for fifteen days, and its due to this (in addition to Landis’ teenage-accurate writing) that you do feel a genuine bond between the three. As the group of friends act like real teenagers, reckless and immature yet not totally unlikeable, which was an important area to succeed in as a large majority of the story early on leans on their antics as they share banter and test how far their abilities can truly go. However, even with all three characters having quite diverse personalities, it’s ‘Andrew’ who really steals the film as a character. As his descent into hysteria serves as a compelling character-arc within the story, and is well-executed aside from one or two lines nearing the end of the runtime, which are reminiscent of a cheesy supervillain quote from an early 2000s blockbuster.

While the film’s cinematography by Matthew Jensen does begin as your standard affair for a found-footage flick, when it comes to the film’s final act it can be quite difficult to tell where (or what) the camera is actually supposed to be. As its during the final act the characters fully embrace their abilities, allowing them to fly, tear through buildings, make objects float with ease and even throw vehicles, with many of their impowered actions being seen through various CCTV footage or onlooker’s floating phones and tablets, resulting in a fairly chaotic conclusion in spite of its creativity.

Also as a result of its found-footage style, ‘Chronicle’ lacks an original score, yet the film still features many songs through sources within the world of the film itself like radios and phones. And while the film does have a more realistic feel because of this, the film’s constant over-reliance on glitchy edits/transitions have the complete opposite effect, as the overuse of glitches soon becomes just as irritating as it is distracting considering ‘Andrew’ is often filming through a contemporary camera.

Sadly, in the years since it’s release, much of the CGI throughout ‘Chronicle’ hasn’t aged well, as while some of the CG effects still hold-up, there is such a huge number of effects seen within the film that it would’ve been difficult for all of them to remain unblemished. These dated CG visuals might also relate to the film’s budget of £8.9 million, which may seem like a large amount, but is actually quite thin when taking into account what is required of it. The film’s budget also played a part in where it was filmed, as ‘Chronicle’ was primarily shot in Cape Town, South Africa, with American designed vehicles needing to be shipped over for the production, even though the story takes place in Seattle.

To conclude, whilst the film has its issues like many other found-footage flicks, ‘Chronicle’ is certainly an under-appreciated entry in the subgenre, excelling in many different ways. And since the film’s initial release, there have been plenty of rumours regarding a sequel, with Max Landis constantly being attached and then unattached as its writer. But I think it’s pretty evident now that we’ll probably never see a sequel to this underrated science fiction story, which I believe is a good thing, as although the film does have some concepts which could be further explored, I feel the story of: ‘Andrew’s psychotic downfall will always be the main focus of: ‘Chronicle,’ and without his character, it would seem incomplete. Final Rating: 7/10.

chronicle-teaser-poster

The Perks of Being a Wallflower (2012) – Film Review

/ Joe Baker / Leave a comment

Dealing with heavy themes of loneliness, mental health and suicide, ‘The Perks of Being a Wallflower’ may not astonish when it comes to its visuals. But through its strong performances, heartfelt story and well-written screenplay (aside from one or two cliché lines), the film soon becomes a very sincere and captivating adaptation of the acclaimed coming-of-age novel many grew-up with when it released in 1999, now being seen as one of the best teenage dramas in recent years.

Plot Summary: Fifteen-year-old: ‘Charlie’ is a socially awkward teenager heading into his first year of high-school, used to watching life from the sidelines, ‘Charlie’ soon discovers the joys of friendship, love and music as the free-spirited: ‘Sam’ and her stepbrother: ‘Patrick,’ open his eyes to the real-world. But when his friends prepare to leave for college after graduating high-school, ‘Charlie’s inner-sadness threatens to shatter his newly-found confidence…

In a rare scenario, the film adaptation of: ‘The Perks of Being a Wallflower’ is not only based on the novel of the same name by Steven Chbosky, but is actually written and directed by Chbosky himself. As originally, beloved writer-director John Hughes, the comic genius behind: ‘The Breakfast Club’ and ‘Sixteen Candles’ amongst many other 80s teen flicks, was intended to direct the adaptation, initially wanting to make the film into more of a dark comedy with Shia LaBeouf set to play ‘Charlie,’ Kirsten Dunst as ‘Sam,’ and Patrick Fugit as ‘Patrick.’ But with Hughes sudden death in 2009 stalling the project, his screenplay was eventually scrapped as he’d not completed it before his passing, leaving Chbosky to take the reins.

Throughout the entirety of the film, the main trio of friends are portrayed wonderfully by Logan Lerman, Ezra Miller and Emma Watson, in one of her first roles following the end of the ‘Harry Potter’ series, as each member of the young cast display plenty of range with their respective characters receiving an almost-absurd amount of characterisation alongside, resulting in all three of the central protagonists soon forming a real bond with the audience through their lovable yet realistic portrayals of high-school teenagers. Well-known comedy actor Paul Rudd also appears within the film as ‘Mr. Anderson,’ using his natural charisma to portray a genuinely kind-hearted teacher, guiding ‘Charlie’ to what he believes is his future career as a writer.

The film’s cinematography by Andrew Dunn is noticeably where the filmmaking dips in quality, as despite the camerawork occasionally allowing for some interesting framing, such as when ‘Charlie’ is framed alone with only bare walls surrounding him, visually-presenting him as an outcast due to his anxiety when interacting with others. Most of the film’s cinematography feels fairly mundane, with the colour palette in particular, seeming very confined, always utilising quite warm/calming colours regardless of what’s happening within the narrative. However, with that said, near the end of the runtime, the film does manage to impress with its editing as ‘Charlie’ begins to suffer from a panic-attack, represented through the film cutting rapidly between an array of previous scenes, ensuring a feeling of being overwhelmed within any viewer whilst watching. 

From iconic songs such as: ‘Heroes’ and ‘Come on Eileen,’ to the beautifully somber original score by Micheal Brook. The entire soundtrack for: ‘The Perks of Being a Wallflower’ is both graceful and immensely under-appreciated, capturing the film’s many alternating tones, whether that’s its unrelenting isolation, or its upbeat bliss. But my personal two favourite tracks have to be ‘Charlie’s First Kiss’ and ‘Shard,’ a pair of tracks that are both truly touching pieces of music, evoking emotion in any listener in spite of their simplicity.

Another aspect of the film I adore is how it represents high-school, as while many coming-of-age flicks usually lean into the idea of high-school being an often chaotic but satisfying experience, ‘The Perks of Being a Wallflower’ never glorifies school, refusing to represent it as either a positive or negative place. This all backed-up of course, by the story’s interesting themes which the film handles with care, never overemphasising it’s concepts in a similar fashion to the source material. Also in-line with the original novel is the film’s apparent 1990s setting. Yet with the exception of the numerous mix-tapes the characters listen to, you’d be forgiven for being unaware that the film even takes-place within this time-period, as its never mentioned nor plays into the film’s style.

Overall, ‘The Perks of Being a Wallflower’ is deserving of all the praise it receives. As while the film’s uninspired cinematography does leave some room for improvement, for a directorial-debut, Stephen Chbosky really knocks it out of the park here, with some brilliant performances and very underrated original score, the film is truly an adaptation to be admired. And regardless of whatever time-period its story is set within, many of its themes/messages are timeless, and I personally believe this is what any other films focusing on troubled teenage characters should strive to be. Final Rating: 8/10.

perks_of_being_a_wallflower_xxlg

Wreck-It Ralph (2012) – Film Review

/ Joe Baker / Leave a comment

Equally entertaining for both children and parents who will catch the many references to classic arcade games, ‘Wreck-It Ralph’ is a funny, colourful, and exciting adventure from Walt Disney Animation Studios. Directed by Rich Moore, most known for his work on ‘The Simpsons’ in addition to some other recent Disney flicks. This eight-bit odyssey may not quite match-up to some of the other iconic films Disney has released in its many years of crafting animated stories, yet is still sure to please any game-enthusiasts in search of a new favourite.

Plot Summary: After many years of being the bad guy and being defeated in his own game day-after-day, ‘Wreck-It Ralph’ longs to be as beloved as his game’s perfect protagonist: ‘Fix-It Felix.’ So, when a modern, first-person shooter arrives in his arcade, ‘Ralph’ sees his opportunity for heroism and happiness. But now, with his game at risk of being put out-of-order due to his disappearance, ‘Ralph’ must quickly return home before its game-over for everyone…

From the get-go, one of the best elements of: ‘Wreck-It Ralph’ has to be its initial concept, as the film portrays the idea of video-game characters coming to life in a similar fashion to the ‘Toy Story’ series, but also adds a living virtual world alongside. Interestingly, Disney first began developing an animated film based around a world of video-game characters in the 1980s. At that time, the project was titled: ‘High Score,’ it was then changed to ‘Joe Jump’ in the 1990s. Until in the late 2000s, when the film was finally pushed forward, the first two months of story development focused on ‘Fix-It Felix Jr.’ as the protagonist, which eventually evolved to the film we received in 2012.

John C. Riley and Sarah Silverman lead the cast as the titular characters: ‘Wreck-It Ralph’ and ‘Vanellope Von Schweetz’ superbly, as unlike most animated films, the main group of actors regularly recorded their sessions together in the same room, a situation which led to large amounts of improvising and gave the cast a real sense of chemistry. But regardless of how much of his dialogue was improvised, ‘Ralph’ still remains, in my opinion, one of the most memorable and likeable characters Disney has created in their more modern animations, mostly due to his design and understandable motivation of wanting to be seen as a hero rather than a villain. Jack McBrayer, Jane Lynch, and Alan Tudyk make-up the remainder of the cast, who are all also wonderful within their roles as ‘Fix-It Felix,’ ‘Calhoun,’ and ‘King Candy’ respectively, as each actor plays into whichever type of game they originate from, e.g. intense sci-fi solider with a overly dramatic backstory or a quirky/cartoonish kart-racer.

An area ‘Wreck-It Ralph’ is lacking, however, its on the promise of exploring the many different video-game worlds its story implies. As while the film does explore its two signature worlds of: ‘Hero’s Duty’ and ‘Sugar Rush’ well, ensuring each location feels vastly different in terms of both its design, animated cinematography, and colour palette. The film is limited in how many video-games its characters actually explore, which is a shame when considering the many possible adventures its different arcade worlds could contain, especially when taking into account the huge number of cameos from video-game icons like ‘Pac-Man,’ ‘Q’bert,’ and ‘Sonic the Hedgehog.’

Although the original score by Henry Jackman is a huge missed opportunity to have a classic eight-bit score to further fit with the video-game narrative, the film’s soundtrack still features plenty of great tracks, which just like the film’s visuals, alter depending on which video-game world the characters are currently inside. As outside of the generally enjoyable tracks: ‘Wreck-It Ralph’ ‘Life in the Arcade,’ and ‘Messing with the Program,’ the score occasionally gets quite creative, even having an original theme created for the kart-racing game: ‘Sugar Rush’ by J-pop band: ‘AKB48,’ as the fictional video-game is supposedly manufactured in Japan.

Whilst the animation itself is visually stunning and brimming with small details as with nearly every animated Disney film, the main flaw ‘Wreck-It Ralph’ suffers from its without a doubt its story structure. As what may throw many viewers off is that the film begins focused entirely on ‘Ralph’ and his journey, before then quickly and drastically changing direction to focus more on ‘Vanellope’ and her desire to become a playable ‘Sugar Rush’ racer, which can be a little jolting when recalling the film’s first act.

Overall, ‘Wreck-It Ralph’ may not always use its signature concept to its best extent, and can often go too far when it comes to some of its immature or video-game-related humour. Yet the film’s delightful characters, gorgeous and distinctive locations and beautiful animation all manage to save the film from its faults. So, despite ‘Wreck-It Ralph’ not going down with audiences as successfully as some other animated Disney flicks like ‘Frozen’ or ‘Zootropolis,’ for example, I still feel the film is worth grabbing a joystick for should you get the chance. Final Rating: 7/10.

wreckit_ralph_ver6_xlg