Top Five Friday - Halloween Special

TOP 5 UNDER-RATED HORROR FILMS

Happy Halloween everybody!

He's standing right behind you...

So it's the time of year again where you buy chocolate and sweets, wear face paint and dress up, then unplug the front door bell and sit in watching scary movies.  A perfect excuse to pop in a DVD and curl up on the sofa behind the cushions and give yourself a good scare, amiright?  So today I'm going to list my Top Five suggestions for terrifying films to watch tonight (or any night that you fancy a horror film, really).

The decisions behind these choices stem from these titles being (in my opinion) unseen or underrated by the usual cinema audiences and so I do warn you: there are some foreign films in my list, but I do recommend good-old English language films if you just want to sit back and relax.

Instead of my usual numerical ordering, today I've decided to define what type of horror film they are (Slasher/Ghost/Zombie etc.) to help you decide if one of them is for you.  First up...

GHOST  -  THE ORPHANAGE

No... I don't want to play...

The Orphanage tells the story of Laura, a young woman who buys a closed orphanage to renovate it and turn it into a children's home once again.  Instantly strange things begin to occur such as her son begins speaking of another local child who wears a creepy-as-hell sack mask.  When her son disappears, Laura is forced to play games with the ghosts of the orphanage in order to discover what truly happened in it's past.

You just can't beat a good ghost story, especially the spooky-children kind!  And The Orphanage (or El Orfanato in it's original Spanish) is one of the best I've experienced in a while.  I say 'experienced' rather than 'watched' due to the film being so incredibly atmospheric and terrifying that I almost let out a very girlish scream in the cinema auditorium.  Never does it fall to the temptations of 'cattle-prod' cinema that has become so prevalent in today's cinema experience.  No longer are there long spells of silence, followed by a cheap loud noise intended just to shock.  Rather they are replaced with long foreboding senses of dread that leave most of the scaring to your own imagination, rather than overblown CGI and gruesome body torture.

MONSTERS  -  THE TROLL HUNTER

Although, if overblown CGI is your thing and you want it served up alongside an interesting idea of Norway's government secretly housing real-life trolls in their vast countryside, The Troll Hunter is the film for you.  The film-makers take an appropriate Blair Witch style realistic approach and happen to discover one lone man in charge of keeping these once-mythical beasts in check.  What follows is a documentary-style film of this troll-hunter's methods and tactics in his experiences battling these ferocious gigantic monsters.

On paper, this film shouldn't work.  It could possibly be a tongue-in-cheek pastiche featuring some shocking computer graphics, but instead, it flies off the film as a breath of fresh air!  It approaches the ridiculousness of it's subject matter and makes it impressively realistic and approachable, mainly through it's use of the 'found-footage' angle.  It encompasses most of the troll-canon that we have learnt from childish fairy-tales, such as they can smell blood of a Christian, they turn to stone in sunlight etc. and presents an understandable and modern-day fairy tale for the new generation.

Ray Winstone gets angry when you don't Bet-In Play...

ZOMBIES  -  PONTYPOOL

A poster that gets right to the point...
I like that...

Pontypool takes place in a small Canadian town where, during the course of his radio phone-in show, DJ Grant Mazzy (Stephen McHattie) learns of an infection spreading through the inhabitants of quiet Pontypool.  However it isn't the regular zombie outbreak of people biting each other but the infection is in the words people are speaking.  The English language is infected and begins turning people into mindless angry zombies.  But should Mazzy warn the outside world and risk infection, or does he stop his show and try to live?

Pontypool really surprised me when I stumbled upon it late one night.  I had heard the premise before watching it, but I was still amazed by the originality and slanted take on the zombie-genre.  The entire film is shot in the radio station and the main feeling you get throughout is increasing claustrophobia as the infection slowly makes itself known and more reports are called in.  The calls describing the bloodshed allow the viewer to make up their own scenes of violence, which often results in terror much worse than any film could inspire.  Not your conventional zombie film, but one that will stick with you once the credits start rolling.

Now say it with me; "Kill is Kiss!"

SLASHER  -  HAUTE TENSION  (SWITCHBLADE ROMANCE)

Marie and Alex are two young French teenage girls, visiting Alex's parents in the French countryside.  Everything is idyllic and lovely, but as usual, a serial killer rings the doorbell and begins to slaughter Alex's innocent family.  Marie manages to hide and escape the house but gets caught in a game of cat and mouse with the killer in tow.

I studied Haute Tension in college as part of a season of Final Girl films, alongside classics such as Halloween and The Texas Chainsaw Massacre.  Similar to these seminal films that came before it, most of the film has our heroine terrified and running from faceless horror, but it manages to twist the conventions of the typical slasher film on it's head in such a way that it shocks, confuses and horrifies.  The violence is gory, the methods of murder are vicious and the storyline keeps you guessing all the way through.  Truly a worthwhile watch.

Did someone say 'kick-ass French lesbian heroine!'?

Just... so much mind-fuck...

CRAPLOAD OF EVERYTHING  -  CABIN IN THE WOODS

Now whilst Haute Tension flipped the slasher film upside down, one film successfully managed to turn the entire horror genre on it's head, the much-delayed and highly acclaimed The Cabin In The Woods.  Put a horror film in the safe hands of producer Joss Whedon and you know it's gonna be a helluva rollercoaster ride.

The film starts like any other horror film like it; five teenagers go and stay in a lakeside cabin in the woods, only to discover monsters and zombies coming to get them.  The only thing is that the audience finally see why these teens are targeted, and in this specific cabin, on this specific day, by these specific monsters.  The results are in no way disappointing.

This film seriously has something for everyone and should really appeal to horror 'aficionados' since the film references nearly every famous cinema monster in it's own special way.  I'd even go so far as to say that the finale of this film is personally one of my favourites of all time.


So there you have it, a film for all types of horror.  If there are any films that I have missed, feel free to tell me in the comments below.  But otherwise, thank you for reading and letting me share some of my favourite films that I feel deserve a wider audience.

Happy Halloween and sleep tight!

“1 – 2 – Freddy’s coming for you, 
3 – 4 – Better lock your door, 
5 – 6 – Grab your crucifix,
7 – 8 – Better stay up late, 
9 – 10 – Never sleep again…”

Two For Tuesday - Trance / Filth

Filthy Trancing

The man can have one-man staring contests for hours...

Back in 2006 the British Academy of Film and Television Arts, otherwise known as BAFTA, rightfully voted for a young Scottish actor to win the Rising Star Award for his roles in films such as the Oscar-winning The Last King Of Scotland and Atonement, not to mention his vital and applauded role of Mr. Tumnus in The Chronicles of Narnia: The Lion, The Witch and The Wardrobe.  He beat several impressive up-and-comers such as future Academy Award winner Michelle Williams, as well as the incredibly talented, but often miscast, Gael Garcia Bernal. That young Scot was one James McAvoy and he has just gone from strength to strength after being awarded this fan-chosen honour.  Aside from various voice-acting, he has since starred alongside Angelina Jolie in Wanted, portrayed a young Charles Xavier in X-Men: First Class and given an impressive performance in a subpar film, Welcome To The Punch.  And now in the past few months, McAvoy has been very busy indeed, starring in both head-scratching dramas Trance and Filth.

Both Trance and Filth have received wide critical acclaim upon release but unfortunately they only featured in the heights of the UK box office for more than a few weeks.   Their short lifespan could come down to a number of factors, but one reason for their critical acclaim surely is the acting talents of that one risen star James McAvoy.   His natural charisma and charm simply ooze off the screen as he portrays unreliable narrators in both films, as well as providing a steady groundwork upon which both stories may build.  Whilst you might not trust his characters, you feel comfortable in his ability to entertain, even when acting despicably or dishonestly and that is a rare trait for an actor.

Released back in March, Trance sees McAvoy play an auction house employee caught up and implicated in the theft of a priceless piece of artwork.  His head is struck during the attempted heist and he cannot recall where he hid the painting from the robbers.   Obviously, this irritates the robbery's mastermind (Vincent Cassell) and he contacts a hypno-therapist (Rosario Dawson) in an attempt to retrieve the memory from McAvoy's damaged mind.  As they delve deeper into McAvoy's mind, they discover that there is more hidden within than just the painting's location.

On overview, this could be the most intricate and confusing film I have seen in the cinema since Christopher Nolan decided to generously reward us with Inception back in 2010.  There are a lot of comparisons to make to Inception; mainly being that I was left open-mouthed by many of the film's twists and turns and it will definitely require a second viewing.  Danny Boyle hasn't been afraid of being bold in his directorial career, made evident from his early films, such as Ewan McGregor's incredibly disturbing cold-turkey ordeals in Trainspotting (baby on ceilings, anyone?) all the way to those he has directed recently, with James Franco's personal dismemberment in 127 Hours certainly leaving a lasting impression.  Just thinking of Franco reaching his left arm's main nerve makes my skin crawl to this day.  And in it's own way, Trance isn't afraid of taking bold steps in it's narrative.  Timelines are turned askew, allegiances are formed, then broken and not everyone is who they seem.

I honestly did not know what to expect going into Trance and can safely say that I still have no idea what I truly watched.   All I know is that I was happily blown away; not only by the mind-bending culmination but nearly every scene preceding it. A large part of that reaction would be due to the varied performance of Mr McAvoy.  He shows such a dramatic and impressive range of emotion in Trance, he seems to embody approximately seven different characters and all in the same person.  Danny Boyle manages to treat us to a cavalcade of red herrings, teasing foreshadowings and subtle hints to the film's true meaning.  Upon discovery, you will instantly want to watch the film again to appreciate it in a whole new light.

Speaking of a whole new light, not since Nicolas Cage's insane, scenery-chewing performance in Bad Lieutenant have I seen a more destitute, despicable and damaged character in film than Filth's Bruce Robertson (McAvoy).  He is a manipulating, molesting, bigoted, homophobic, misogynistic horror of a man, but all McAvoy has to do is flash his cheeky grin and you can't help but be reluctantly mesmerised as he terrorises his way through the Edinburgh streets.

Filth is adapted from the Irvine Welsh novel of the same name, and like Welsh's previous work, Trainspotting, Filth focusses on the depravity and turmoil of one particular Scottish man.   Instead of McGregor's Renton, we are introduced to Bruce, a Detective Sergeant in the Edinburgh police who is desperately vying for the coveted Detective Inspector position that is up for grabs.  In order to achieve his goal, Bruce is willing to toy with the emotions and dreams of his colleagues, plotting against them all whilst indulging in drugs, alcohol and sexually-abusvie relationships.  Described by McAvoy as “Blackadder, but without Richard Curtis”, it really isn't a first-date film but is still sincerely breathtaking in the depths that it sinks.

The word 'overdose' comes to mind...

Whilst Bruce is truly a loathsome character, he is supported by a fantastic cast, particularly Eddie Marsen who continues his fine form as the timid Clifford Blades and Jim Broadbent who appears in Bruce's imagination as a twisted surreal version of his real-life psychiatrist.  I haven't read the book from which Filth is adapted, but when I have discussed it with friends, they have nothing but praise for the novel and highlighted the surreal dreams sequences in which the psychiatrist features.  These were truly shocking moments during the film as they are drastically different from the normal gritty reality that Bruce encounters during his mental breakdown.  He also begins imagining his friends having grotesque animal heads instead of their regular faces and those images with stay with me for a long time...

Overall I feel that these are films that are quite difficult to understand and endure, but can be appreciated regardless throughout. Like someone telling you a really complicated mathematical problem, showing you how they solved it and then watching them smash a watermelon right in front of your face; you don't quite know what you've seen or how much you understood, but gosh, what an interesting experience!

That analogy might not quite work, since it's nearing midnight and I'm beginning to struggle, but the main linchpin of both films is that man McAvoy.  His charm and his talent transfix your eyes to the screen throughout both films, despite the vulgar, confusing or depraved actions taking place and that is a rare talent in actors today.  He will soon be seen in the upcoming X-Men film, Days of Future Past (which I honestly cannot wait for) but I'm certain that an Academy Award will come soon for this wee lad from Port Glasgow.

Ratings:

Trance – 9/10

Filth – 8/10

Thank you for reading and I'll see you all soon! x

Riddick

Seek and Destroy

Riddick's Dad taught him how to pounce

I know that sometimes I come off as a tad snobbish, when it comes to both films and reality.  Admittedly I have high standards when I want to be entertained and I’m quite comfortable with that. However, I’m more than aware that sometimes a person will need to unwind, switch off their brain and just watch some things explode. It’s relaxing and easy-watching.  Some of my personal favourites are films that don’t require a twist ending or an intricate storyline and I am an advocate of finding classic motion pictures in your local ‘lacklustre’ rental store just as well as your nearby multiplex.

Not naming any names...

Of all the mindless and enjoyable sci-fi films of the past few years, one personal favourite of mine is Pitch Black, the relatively low-key blockbuster that helped propel Vin Diesel to become a household name after starring in films such as The Fast And The Furious and Saving Private Ryan (that’s correct; Vin Diesel starred in Spielberg’s heart-wrenching war epic).  Pitch Black didn’t hold any high aspirations or delusions of grandeur, but delivered an entertaining and watch-able sci-fi thriller, and the same can be said about Diesel’s latest film, Riddick.

She didn't fancy the lead in Fast and Furious 7

Riddick picks up after Pitch Black’s sequel, The Chronicles of Riddick, which admittedly I haven’t seen. However, I was more than able to keep up with the premise.  The lowlife space-criminal with night-vision eyes, Richard B. Riddick (or Riddick to his friends), has become ruler of an entire planet’s civilisation but is betrayed by his subjects and left to die on a desolate planet.  In an attempt to leave the planet, he attracts the attention of two rival bounty hunter gangs and aims to leave on one of their ships once they arrive.  This starts a game of cat and mouse between Riddick and the bounty hunters that is made much more dangerous when the planet’s native beasties begin to emerge during a thunderstorm.

Now it sounds like a potentially thin set-up and storyline but once the bounty hunters are introduced and Diesel starts muttering his signature growl, the rest flows off the screen and washes over you in a comfortable sea of familiarity.  One section in particular caught my attention and made me ashamed of my preconception.  Despite most of the film adhering to the staples of the action franchise, the opening act of Riddick features just the titular hero as he deals with the recent treachery, marooning and isolation.  With a broken leg, no water and virtually zero knowledge of the planet he is on, we are shown a survivalist Riddick similar to Tom Hanks in Cast Away . It’s a welcome change to see the bone-breaking mercenary as vulnerable and in preservation mode, as it adds depth to a character that would otherwise appear as two-dimensional and sociopathic as he did in Pitch Black.  Don’t get me wrong, I found it enjoyable to see that side of Riddick in Pitch Black as it was part of the film’s charm.   However in his third outing, the audience demands to see something fresh and this threatened and softer side of Riddick is a refreshing change of pace.

Don't play Hide and Seek with these guys...

The rival bounty hunters are quite opposite in their approach to capturing Riddick. The first group are a bunch of hot-headed scoundrel scavengers, simply focussed on collecting Riddick’s bounty through any means necessary.  Whereas the second group appear like your typical ‘sci-fi meat-headed Army marines’ but are a much more precise and experienced group of professional mercenaries, who would rather get personal revenge on Riddick than collect the bounty on his head.  The games of one-upmanship between the bounty hunters are quite entertaining as they both plot to capture the escaped convict, providing much-needed comic relief to the film that doesn’t necessarily come from the gruff-voiced protagonist.

My problems with the film would be found when the film slips into the typical clichéd action-film stereotypes; the cheesy dialogue, the dark, confusing fight scenes and the fact that Riddick gets the girl, even though it’s stated about fifty times that that girl is a lesbian. Yes, Richard B Riddick can turn gay women straight.

Bitches love the Riddick...

I also would have preferred some consistency when it came to the alien beasties. As they awake from their slumber for the final climatic battle scene, they are portrayed as Man’s Worst Nightmare; capable of crushing a steel caravan with their powerful claws and jaws. But when they are fought by Riddick and the surviving mercenaries, they are able to despatch the winged monsters without much effort and I thought there was an immediate diffusion of tension once I realised that our heroes would be able to escape without too much fuss.

I might give
Battlestar Galatica a go...

But those are minor quibbles that you’d find in any recent sci-fi blockbuster; at least Riddick doesn’t try to be anything else.  It knows it is sci-fi buffoonery and enjoys itself whilst doing it.  I’m glad it gave the audience a clearer insight into the character of Riddick before making him disappear and bide his time, but just wish it could have continued impressing me from the beginning through to the end, instead of losing it’s way in the final third. Hopefully it will lead to an even better fourth Riddick film, before Diesel gets too old to capitalise on his ridiculous name.

Overall, a fantastic popcorn movie.  Plus, I finally can see why The Big Bang Theory obsesses over Katee Sackhoff.

Rating - 8/10