USA: Joseph Kahn, 2011
IMDB reference
Another late screening I missed at FrightFest 2011, watching DETENTION at home on the small screen I can't help but think this would've have been more enjoyable with a crowd. Written (along with Mark Palermo) and directed by Joseph Kahn this post-modern-postmodern slasher fires reference after reference at you: often visually and verbally at the same time. Undoubtedly, dynamic and even anarchic in the best possible way DETENTION starts at a frantic pace and never stops for air.
Now I like a movie or cultural reference as much as the next man and this film delivers them in spades - in fact I don't mind admitting I probably missed more than I got - but there's always the danger of that self-reflexiveness becoming something akin to visual and aural noise. Thankfully, DETENTION has some likeable characters, impressive digital effects and the odd gory death to safe it from the void.
The Count's Verdict: I've heard DETENTION described as the film SCREAM 4 should've been and I can certainly get on board with that. However, it still doesn't alter the fact that often slavish fixation on all things meta is largely superficial and dated at its inception no matter how knowing or fun the enterprise.
Showing posts with label iPad. Show all posts
Showing posts with label iPad. Show all posts
Sunday, 26 August 2012
Thursday, 23 August 2012
ROGUE RIVER *½
USA: Jourdan McClure, 2012
IMDB reference
This was another FrightFest 2011 omission on my part (I was off in the Disco Screen watching Paul Naschy doc THE MAN WHO MADE FRANKENSTEIN CRY) and with heinsight, having now seen ROGUE RIVER , I can't say I regret skipping it.
After a brief but potentially all too revealing pre-credit sequence which shows us a climatic scene from the end of the film, this low-budget US exploitation flick begins in an ok manner with a very sparse score accompanying aerial shots (think THE SHINING) of a car snaking its way across the landscape.
We soon learn that Mara (Michelle Page) is visiting the titular 'Rogue River' to scatter the remains of her deceased father. However, Mara is prevented from doing so by seemingly harmless busybody Jon (Bill Moseley) due to lack of a permit. Various plot contrivances ensue to establish the set-up of Mara being kept against her will in the home of the unhinged Jon and his sister/lover Lea (Lucinda Jenney).
The problem is you simply don't care as it all feels so derivative and plodding. The writing and pace isn't the film's only flaw as fatally the lead, Michelle Page, lacks any discernible charisma or screen presence resulting in clunky lines of dialogue being delivered in an equally tepid manner. Sadly, Mara's plight and failed attempts at escape only managed to raise my wrist to check the time rather than raise my pulse.
As the full homicidal lunacy of the her captors is revealed the body count rises but despite the best efforts of Moseley and Jenney I found their tyranny to be a bore rather than a threat. Seemingly aware that despite its short 80 minute running time the plot is running out of ideas the script then throws in an attempted shock twist that made me audibly groan with disdain. Not only is this knowingly tabboo reveal in bad taste it is rendered almost mute by the fact many other recent horror films have also done something similar in a far more effective way.
The film doesn't even have the grace to end where we begin as it not only replays the film's pre-credit sequence, it then has a very ill-judged coda whereby the nonsensical revelation alluded to earlier is taken then to a conclusion which leaves a bitter taste in your mouth - couched as it is in an idea of far greater significance than it deserves.
The Count's Verdict: You've literally scene everything in ROGUE RIVER before but done with far more imagination and craft. Don't bother with it.
IMDB reference
This was another FrightFest 2011 omission on my part (I was off in the Disco Screen watching Paul Naschy doc THE MAN WHO MADE FRANKENSTEIN CRY) and with heinsight, having now seen ROGUE RIVER , I can't say I regret skipping it.
After a brief but potentially all too revealing pre-credit sequence which shows us a climatic scene from the end of the film, this low-budget US exploitation flick begins in an ok manner with a very sparse score accompanying aerial shots (think THE SHINING) of a car snaking its way across the landscape.
We soon learn that Mara (Michelle Page) is visiting the titular 'Rogue River' to scatter the remains of her deceased father. However, Mara is prevented from doing so by seemingly harmless busybody Jon (Bill Moseley) due to lack of a permit. Various plot contrivances ensue to establish the set-up of Mara being kept against her will in the home of the unhinged Jon and his sister/lover Lea (Lucinda Jenney).
The problem is you simply don't care as it all feels so derivative and plodding. The writing and pace isn't the film's only flaw as fatally the lead, Michelle Page, lacks any discernible charisma or screen presence resulting in clunky lines of dialogue being delivered in an equally tepid manner. Sadly, Mara's plight and failed attempts at escape only managed to raise my wrist to check the time rather than raise my pulse.
As the full homicidal lunacy of the her captors is revealed the body count rises but despite the best efforts of Moseley and Jenney I found their tyranny to be a bore rather than a threat. Seemingly aware that despite its short 80 minute running time the plot is running out of ideas the script then throws in an attempted shock twist that made me audibly groan with disdain. Not only is this knowingly tabboo reveal in bad taste it is rendered almost mute by the fact many other recent horror films have also done something similar in a far more effective way.
The film doesn't even have the grace to end where we begin as it not only replays the film's pre-credit sequence, it then has a very ill-judged coda whereby the nonsensical revelation alluded to earlier is taken then to a conclusion which leaves a bitter taste in your mouth - couched as it is in an idea of far greater significance than it deserves.
The Count's Verdict: You've literally scene everything in ROGUE RIVER before but done with far more imagination and craft. Don't bother with it.
Labels:
2012 (UK) Releases,
Film,
FrightFest 2011,
iPad,
Reviews,
Screening Log
Tuesday, 21 August 2012
INTRUDERS **½
USA/UK/Spain: Juan Carlos Fresnadillo, 2011
IMDB reference
INTRUDERS begins in Spain with a lot of promise: the everyday ritual of a mother putting her young son to bed is effectively underscored by a brooding sense of menace revolving around a child’s imagination, fantasy and monsters. The ensuing materialisation of this threat is expected but no less creepy despite some rather lacklustre CGI.
Cue the opening credits and an abrupt shift to London for no discernible reason other than this appears to be a British and Spanish co-production. The rather plodding plot then focuses on John and Susana Farrow (Clive Owen and Carice van Houten) and their daughter Mia (NEVER LET ME GO’s Ella Purnell). The atmosphere and tension picks up again momentarily as she too begins to be stalked by the same hallucinatory figure (dubbed ‘The Hollow Man’) we first glimpsed in Spain.
Director Juan Carlos Fresnadillo then attempts to tell us two parallel stories through sequences alternating between Spain and England. This only serves to make me want to give up on the blandness of the Farrow plotline and stay in Spain where Father Antonio (Daniel Brühl) is investigating the plight of Luisa (Pilar López de Ayala) and her son Juan (Izán Corchero). Whilst not doing anything new: images and sound design compliment the appearances of ‘The Hollow Man’ hinting at a potential which sadly the film lacks the budget and creativity to deliver on.
As the film progresses it also loses all momentum and a fine international cast is not able to elevate the material as the plot becomes more generic, clichéd and downright silly the more it attempts to tie the Spanish and British storylines together.
Ultimately, INTRUDERS is an easily forgettable film likely only to leave you with the lasting impression that young actress Ella Purnell – albeit not really ask to do much here - is surely a star of the future.
The Count’s Verdict: Starts strong but soon becomes indistinguishable from the glut of modern horror stories told from the point of view of a child’s imagination. Has fleeting moments of genuine unease but the impact is overshadowed by the baggy and perfunctory storytelling. The talented cast are unable to lift what is a disappointingly mediocre script. Don’t go out of your way to see this as there’s superior material on the same theme already out there.
IMDB reference
INTRUDERS begins in Spain with a lot of promise: the everyday ritual of a mother putting her young son to bed is effectively underscored by a brooding sense of menace revolving around a child’s imagination, fantasy and monsters. The ensuing materialisation of this threat is expected but no less creepy despite some rather lacklustre CGI.
Cue the opening credits and an abrupt shift to London for no discernible reason other than this appears to be a British and Spanish co-production. The rather plodding plot then focuses on John and Susana Farrow (Clive Owen and Carice van Houten) and their daughter Mia (NEVER LET ME GO’s Ella Purnell). The atmosphere and tension picks up again momentarily as she too begins to be stalked by the same hallucinatory figure (dubbed ‘The Hollow Man’) we first glimpsed in Spain.
Director Juan Carlos Fresnadillo then attempts to tell us two parallel stories through sequences alternating between Spain and England. This only serves to make me want to give up on the blandness of the Farrow plotline and stay in Spain where Father Antonio (Daniel Brühl) is investigating the plight of Luisa (Pilar López de Ayala) and her son Juan (Izán Corchero). Whilst not doing anything new: images and sound design compliment the appearances of ‘The Hollow Man’ hinting at a potential which sadly the film lacks the budget and creativity to deliver on.
As the film progresses it also loses all momentum and a fine international cast is not able to elevate the material as the plot becomes more generic, clichéd and downright silly the more it attempts to tie the Spanish and British storylines together.
Ultimately, INTRUDERS is an easily forgettable film likely only to leave you with the lasting impression that young actress Ella Purnell – albeit not really ask to do much here - is surely a star of the future.
The Count’s Verdict: Starts strong but soon becomes indistinguishable from the glut of modern horror stories told from the point of view of a child’s imagination. Has fleeting moments of genuine unease but the impact is overshadowed by the baggy and perfunctory storytelling. The talented cast are unable to lift what is a disappointingly mediocre script. Don’t go out of your way to see this as there’s superior material on the same theme already out there.
Labels:
2012 (UK) Releases,
Film,
iPad,
Reviews,
Screening Log
Tuesday, 14 August 2012
Sunday, 12 August 2012
BAD INCLINATION *
Original Title: Cattive inclinazioni
Italy: Pierfrancesco Campanella, 2003
IMDB reference
A 'modern giallo' featuring genre stalwarts Florinda Bolkin and Franco Nero as well as TENEBRAE's own bizarrely apostrophed transsexual performer Eva Robin's in a leading role should be reason enough to recommend this film. Sadly, 'Cattive Inclinazioni' or BAD INCLINATION as its known in English is quite possibly the worst giallo film I've ever seen.
Overlooking the cheap TV visuals, the unconvincing gore make-up and the ridiculous suspense-less plot one can't fail to be dismayed by the complete lack of direction or any discernible acting talent which mires virtually every scene. Instead you get static, limp shots of wooden, clunky acting all of which linger too long inducing a state of narcolepsy in the spectator. The horrendous English dub contributed to this amatuerish bland factor no doubt but even leaving that matter aside, BAD INCLINATION is one of those films which is so mind numblingly awful you're only recourse is to laugh uncontrollably at the nonsensical mess which is unfolding on the screen before you.
The inclusion of nudity in the form of various boobs shots call back to American slashers of the 80s and BAD INCLINATION even ramps up this cheesy sleaze factor to include several sex scenes akin to the late-night soft-core dross Channel 5 used to churn out.
The Count's Verdict: Forget the misleading pedigree of this film as everyone involved is plumming the depths of the giallo barrel. Only seek it out if, like me, you can find humour in the complete ineptitude on display.
Labels:
Film,
Giallo,
Giallo Marathon,
iPad,
Reviews,
Screening Log
Thursday, 9 August 2012
Wednesday, 8 August 2012
Sunday, 5 August 2012
Monday, 30 July 2012
Saturday, 28 July 2012
Sunday, 17 June 2012
Sunday, 10 June 2012
Monday, 4 June 2012
Sunday, 20 May 2012
ONCE UPON A TIME THE SUPERHEROES ****½
Original Title: De Superman à Spider-Man: L'aventure des super-héros
Canada/France: Michel Viotte, 2002
IMDB reference
ONCE UPON A TIME THE SUPERHEROES is a fascinating and seemingly overlooked documentary about the history, evolution and lasting legacy of comic book superheroes. This documentary film comprises of interviews with several key figures from comic industry giants DC and Marvel. Moreover, it showcases a treasure trove of superhero comic book art, animation and live action.
The Count's Verdict: Arguably the best documentary I've seen on the topic thus far.
Canada/France: Michel Viotte, 2002
IMDB reference
ONCE UPON A TIME THE SUPERHEROES is a fascinating and seemingly overlooked documentary about the history, evolution and lasting legacy of comic book superheroes. This documentary film comprises of interviews with several key figures from comic industry giants DC and Marvel. Moreover, it showcases a treasure trove of superhero comic book art, animation and live action.
The Count's Verdict: Arguably the best documentary I've seen on the topic thus far.
Labels:
Comics,
DC,
Documentary,
Film,
iPad,
Marvel,
Reviews,
Screening Log,
Superhero Marathon
Saturday, 19 May 2012
Saturday, 5 May 2012
Monday, 30 April 2012
Sunday, 22 April 2012
Saturday, 21 April 2012
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