Tag Archives: Vic’s Review

Vic’s Review – “Feast” (2005)

01 Friday Jul 2016

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“Feast”

What’s it About?

Patrons and workers at a desolate town bar try to ward off murderous and ravenous alien beasts

Directed by John Gulager

By Vic

“It’s road kill revenge”

“Feast,” directed by John Gulager, is one batshit crazy movie, in the most tried and true grindhouse tradition. Let me get this out of the way now, and just admit that it attempts to provide lo fi, low brow, hokey b movie schlock, and it does it well, if at times it borders on eye rolling parody instead of admiration, respect and reverance. To do this right, the film, at the expense of any real story, decides to just administer the right combination of gory monster action, explicit situations, bar humor, vulgarities, banal dialog and plenty of “I didn’t see THAT coming” moments. Gulager’s film revels in psyching the viewer out with how the main characters (All hilariously introduced by freeze frames that include off the cuff bios with life expectancies) are randomly dispatched, leaving us to wonder if any of them are safe, who’s next, and who is going to make it out alive.

It seems that some nasty alien creatures have it in for us humans and where better to come after us (they do have a reason, I suppose) than a red neck dive bar in the middle of nowhere, or rather the Californian desert…well yeah, nowhere. After the intros and obligatory set up’s are over, we get the “hero,” (Eric Dane) barging into said dive bar, all bloody and screaming to everyone that there are murderous and ravenous creatures right behind him and that they better get ready to confront them. It’s a brief respite, then all gory hell breaks loose. The scene where a macho hero tries to save the day is something we’ve all seen countless times before (especially in horror and sci fi films) and Feast is happy to break with convention and press the reset button on how the rules hold up in these situations, and with that being said, Feast becomes an otherwise cracking fun time.

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It’s all an unpredictable, and honestly, a sometimes cliched affair, but, fortunately, between the monstrous excitement we are treated to some pretty funny bits of character interaction in the bar and some laugh out loud dialog. During a quiet moment, one character approaches an old bar hag asking about aliens and insults her by saying that: “Old people know shit!” It’s little bits of juvenile humor and tasteless-ness like this that makes this film hard to hate on some levels much like “Slither” from James Gunn.

The bar inhabitants in Feast are indeed a motley crew and I won’t go into who is who (though Balthazar Getty is pretty comical as an abhorrent pool hustler named “Bozo”) or what, since in the end, it doesn’t really matter, but we are reminded of many other films where people are all stuck together in one place fighting for their lives when an evil external force is trying to get in (Night of the Living Dead, Assault on Precinct 13, anyone?). Don’t even begin to think allegorically or metaphorically here, though, Feast IS NOT that type of flick. What it is, is a corny amalgam of sleazy alien attack flicks that permeated the late 70’s and 80’s in grindhouse theaters and of course, the already afore-mentioned films of Romero and Carpenter.

The movie does in fact feel like a sort of twisted black sheep sibling of Tarantino’s and Rodriguez’s ode to grind from a several years back. Gulager’s Feast seems to humorously take pride in the fact that almost none of it’s main characters have any redeeming values whatsoever and the story holds them in no esteem at all. They are very overtly un-likeable with most being crass, ugly, immature, boorish, blundering and cowardly. All the better, though, since we can’t wait to see who is eaten next, right?

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By the 3rd act, when the numbers of the questionable bar patrons dwindle even more, the film gains even more gusto and gets even more gross and enters really wacky territory with an unexpected turn of events. Feast writers, Marcus Dunstan and Patrick Melton, excel in keeping us guessing and they are indeed students of all that has come before in this particular genre. No one is safe in Feast, and even if this is very familiar territory, Dunstan and Patrick know that they are out to entertain us with schlocky aplomb. They also whip up some very facetious dialog between the characters as they try to outsmart the aliens and even themselves. Director Gulager outdoes himself with the casual gore and gross proceedings showing us everything in harsh reds without batting an eye. Feast is a fun and rollicking flick but you have to be looking to have some fun indulging in this kind of affair. In the end it’s all empty calories and the cinematic equivalent of a Snickers bar.

The cast here are all enjoyable, the gore front and center, the action cliched, the monster mayhem all shaky and what not, and did I mention the gore? Oh yeah, I did. Anyway, Feast is indeed a Feast of crude, odious and off color alien monster goodness that knows what it’s meant to consent to even if that wink and nod is really a self aware dose of parody (but there is yet another funny as hell freeze frame late in the game that I didn’t see coming). Technically, Feast is a solid grindhouse fit and it’s shot and composed capably.

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The make up FX are unexpectedly well done and well rendered and it appears that it’s all done practically with no CGI to be had anywhere. Feast isn’t a smart film in any way, but it is astute in playing the conventions that have made countless grindhouse movies so much fun back in the day. Like I said, it’s frenzied analog film-making in the breakneck style of Raimi’s “Evil Dead” and it serves up basic and elemental horror film tropes that are quite comical and dreadfully low brow, distasteful and offensively gross. Yep, batshit crazy. What gets better than that?

The Late Wes Craven, Matt Damon and Ben Affleck served as Executive Producers on “Feast.” Also, look for vet actor Clu Gulager as “Bartender.” He is the father of the Director.

 

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“Drive it like you stole it!”

– Bozo

Vic’s Review – “The Wave” (2015)

01 Friday Apr 2016

Posted by in Movie Reviews, Vic's Reviews

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“The Wave”

What’s it About?

Even though awaited, no-one is really ready when the mountain pass of Åkneset above the scenic narrow Norwegian fjord Geiranger falls out and creates a 85-meter-high violent tsunami. A geologist is one of those caught in the middle of it.

Directed by Roar Uthaug

Roar Uthaug, the director that brought us the thrilling slasher “Cold Prey,” from 2006, thankfully delivers an astute, serious and mindful disaster film in “The Wave,” from 2015. I feel strongly that Uthaug, perhaps subconsciously, strove to prove that not only Hollywood has the corner on the big budgeted disaster film market. And Uthaug proved it rather nicely, here, in this Norweigan film from Fantefilm and Film Vast productions.

What one notices right away about “The Wave,” is it’s sincere and attentive characterizations and warm scrutiny of a family in Akneset, one of whom is a geologist named Kristian (Kristoffer Joner), who is leaving his job and Village to pursue a headier job with a big oil company. This, in turn, prompts a family move and Uthaug insects the various dynamics between his wife, Idun (Ane Dahl Torp), and kids, Sondre and Julia.

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He is a positive husband and father and likes to joke with his daughter and respectfully and paternally approaches his son while he broods about the move. Kristian, also, is a very dedicated geologist, and on his last day with his co-workers (after they toast to his new job), he shows some concern about water levels dropping in a nearby fissure on the closest mountain range to the small village.

He looks into past records and his concern increases as he delves deeper into the strange readings deep within the mountain. Worried that he may be on to something dreadful , and that an ensuing landslide into the Fjord waters may create a deadly tsunami, Kristian tries to convince his ex-co-workers that catastrophe is heading their way with the mountain about to set free a large chunk of itself into the waters below it.

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But of course, things are too late, and after 2 other geologists look into the fissure personally, the mountain fissure expands as grave tremors and quakes endanger them. Eventually, the mountain lets go of an unfathomable size of itself and plunges into the waters. Kristian desperately achieves to depart with Julia after he finds out what has happened, races to a nearby tourist Hotel where his wife works and his son is staying in a room. Idun persuades him to not go after them since they are evacuating and leaving in a bus. Kristian makes for higher ground but things do not turn out as planned and Kristian is forced to go back for Idun and Sondre as they remain trapped in the bowels of the Hotel after the tsunami hits.

Before I get to the disaster part of the review (and even then I will not spoil anything), I want to focus on how Uthaug’s films deviates from hokey cliches seen in other like minded efforts like “2012” or “The Day after Tomorrow.” The film goes more the route of “The Impossible.” There are many characters to like and Kristian is a good and mindful person, and even though his job and vocation gets the best of him sometimes, you can really feel his earnestness and you know he loves his family.

Also, refreshingly, there are no estranged characters, dysfunctional families, bad guys, or even some loony scientist that cries wolf all the time. The family dynamics are played straight and real. Another thing is the division of the family members within the story (Julia and Kristian at the house for a last night sleepover and Sondre and Idun at the hotel) makes sense and feels integral to the movie since it is a springboard to get the action and peril in motion.

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If “The Wave” is anything, it is very authentic and uses the technical geology jargon to good effect. You really feel that this is all happening and the actors convey at first a disbelief that anything dire could happen to the mountain, to then nail biting fear and a fight for survival. Uthaug builds solid suspense in the first 35 to 40 minutes with mostly dialog and exposition about the scientific aspects and revelations regarding the fissure, but when things get going then “The Wave” becomes a tried and true freight train of a disaster film.

When disasters strikes, it is just in the form of one beautifully executed sequence. The Wave is shown as a beast slowing approaching it’s prey in the form of the nearby village and it is quite a spectacle. It happens straightforward and the last hour is spent on the aftermath of the tsunami. At first, I wanted more scenes of bloated destruction since after so many years of watching things get destroyed and devastated, I was left a sort of mayhem and destruction junkie. But it is not needed here, afterwards, Uthaug delivers a harrowing search and rescue movie after the initial disaster pummels the Fjord and village. It is deeply moving in parts and very edge of your seat, in others.

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There are very scary moments in “The Wave” and the film does not glorify the destruction as much as it shows us some very sad, deadly and desperate situations making the movie all the more touching and disturbing.

“The Wave,” pre-disaster, is a beautfully shot and lensed film by John Christian Roselund (Just wait until you see those wide shots of the Fjord and the mountains!). It also sports a very nice James Newton Howard – like score by Magnus Beite (Cold Prey, Ragnarok). The star is not the disaster, in which they show blessed restraint with, but instead the characters and the actors. Yeah, some cliché may be found here and there (perhaps the “happy ending” and the old “let’s not scare the tourists” ploy) but it is very fleeting and insignificant to all of the rest of the spectacle and suspense that permeates this very well done Norweigan production. Highly recommend. Enjoy, gang!

– Vic

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Vic’s Review – “Predestination” (2014)

20 Friday Mar 2015

Posted by in Movie Reviews, Sci-Fi Movies

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Ethan Hawke as "the Bartender" in "Predestination"

Ethan Hawke as “The Bartender” in “Predestination”

What’s it About?

The life of a time-traveling Temporal Agent. On his final assignment, he must pursue the one criminal that has eluded him throughout time.

“Predestination”

Directed by  Michael Spierig and Peter Spierig

By Vic

Michael and Peter Spierig, who brought us “Daybreakers,” back in 2009, have presented to the sci-fi / drama community of film-goers an intelligent, earnest and very effective film in “Predestination.” It is a movie that has a million variables, since it deals with time travel, that trickiest of sci fi endeavors. But, at it’s core, the movie is very clear and very raw. It is a movie that will provoke debate, arguments and most assuredly some head scratching. I know, for sure, by the movie’s end, I was completely confused, confounded but thrilled by what I had just witnessed. Primarily because I knew that this wondrous little film definitely deserves a re-watch or 3, just to understand the sublime and submersive themes and romanticism.

Based on the story “All You Zombies,” by prolific science fiction author, Robert Heinlein (Starship Troopers) is an incredible mind screw of a movie that has no problem whatsoever forming the basis for all that occurs afterward with a simple little premise and set up, that at first seems a bit trite and hokey. This tale is so unlike the other types of stories by Heinlein, and even by the various types of time travel movies that try to be straight-forward and concise. No, “Predestination” is another animal all together. It makes you dig deep into your psyche and observe the Greek tragedy that unfolds visually before your eyes. The movie and story will, at times, test your patience but it will, without a doubt, make you think and open your mind.

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Now, there is very little in “Predestination,” in the way of starships, lasers, off planet battles and aliens taking over humans. It is almost the anti-thesis of all of that. Ethan Hawke (Daybreakers, Sinister) turns in a very low key and almost aloof performance as “The Bartender,” who is actually a sort of “Timecop” or “Time Fixer” who is in search of an elusive terrorist, who calls himself “The Fizzle Bomber.” Now, at this point, in the 1970’s, Hawke poses as a bartender to hunt down said bomber before he destroys all of New York City.

But, not before he is savagely burned (during a mission where he is overtaken) resulting in a long healing process where, along with repairing damaged vocals chords, had to endure a full facial graft as well. Since that, we never really assume that he looked and sounded different before the burns (we also never see his face in the prologue of the film) either. Like I said, many things will fall into place (well, some things) after the conclusion.

Now, to the meat of the story, while bartending, a young chain smoking individual (a magazine writer and columnist by trade) walks in and is challenged by Hawke (after first appearing a bit abrasive and angry) to tell him the best story he’s ever been told, since Hawke alludes to have “heard them all.” With a bottle of whiskey up at stake, the individual settles in with Hawke and tells a very strange tale indeed, for a while, over a game of billiards. What does follow are numerous flashbacks and a mystifying story that is so other-wordly, sometimes ridiculous and maybe even overly fantastical but within the creepy, unnerving and intriguing confines of the story, seems completely persuasive and probable.

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This film, also written by The Spierig Brothers is a masterfully multi-layered film and it could be very easy to write a long and detailed piece on all of the nuances and narratives, and there are many to dissect here, but what is important is that the actors propel the movie into a whole other level with such moving turns. The beautiful Sarah Snook (Jessabelle) gives such a wholesome, determined, confident and eager performance alongside of Hawke.

She balances all of the ambitious and numerous demands the role has. (She is almost unrecognizable at times, favoring a very young Leonardo DiCaprio) She emotes and projects with such vivid composure that at times she is quite scary and also quite sad. It provokes us into entering her world and mind and Snook does it with such believe-ability, professionalism and skill.

The film, though, is so many things and exposes so many ideals and scenarios that it is just dizzying. The flashbacks, paradoxes, different time periods (50’s, 60’s and 70’s and even the near future, are all on display here), the violence and complexities astounds the viewer and kicks you into a thought provoking landscape. The production is clean, bright and dark, precise but sometimes appropriately ugly and loathsome.

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Events that happen to the protagonists will undo and disgust some audiences who are looking for more rote antics. But, the movie never shies away and when confronted with the film’s transgender material, the movie stays true to form trying it’s best to open one’s mind by how the story is told and how it unfolds and connects in the end. This is a true strength for how The Spierig Brothers manage to balance it all.

“Predestination” is a good looking film despite the lo-fi approach of the story. The visuals, design, music and look of the movie is very top notch and with all of this being said, the story is what matters here. The very astute performance of Hawke, who can appear to play any part, very well, is astonishing to watch. Some may think he seems to be sleepwalking in the role, but I would rather like to think that he is a weary temporal officer, that may have much more to his past and his identity, than what appears on the surface. It is a role where the sublime and morose approach may seem the best fit. Hawke manages to pull it off.

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But, please, watch this for Sarah Snook, if for no other reason. She is completely immersed in the performance. Her tale is the heart of the film and by it’s end and the worthy and trippy finale, you will be provoked into a myriad of emotions and feelings of confusion, empathy and repulsion, but these are the things that the movie sets out to be at it’s core. It will demand various viewings, just in order for the audience to grasp and dissect every little nook, subplot and crevice. The movie, surely, is a complicated and convoluted affair that can be demanding within that first watch but be patient, the movie has a killer twist and an elaborate wrap up that is quite cyclical, challenging and full of enough subtext to make Bergman proud.

Kudos to The Spierig Brothers for delivering a master stroke with “Predestination.” I could keep going on and on with this review and still would not begin to tap into all of the many facets of the human condition it explores. It is a film you may want to let sink in before the next re-watch. I can bet you that bottle of whiskey that you won’t see it the same way and come to the same conclusions the second time around.

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Highly recommended.


Vic’s Review – “FEAR” (Short) (2014) What are YOU afraid of?

21 Friday Nov 2014

Posted by in Horror Movies, Movie Reviews

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Jesse Rabideau in Steve Kahn's "FEAR"

Jesse Rabideau in Steve Kahn’s “FEAR”

What’s it About?

A woman struggles with little things that build to mammoth proportions.

“FEAR” 

Written and Directed by Steve Kahn

By Vic

FEAR / noun
1. a distressing emotion aroused by impending danger, evil, pain, etc.,whether the threat is real or imagined; the feeling or condition of being afraid.

“Fear” from writer and director Steve Kahn, is a tight and effective short that is full of mood and ingenuity. Kahn’s film, if not seen as overtly horror, is easily a work of psychological proportions since he deftly explores what the emotion of fear may really be. Kahn propels us into a very off kilter and nightmarish story that is examined by very commendable film techniques.

His main lead actress, the very pretty Jesse Rabideau (who has great eyes), carries the short in it’s entirety and does so, for the most part, with serious intent and equanimity. Her composure, while preparing to take a bath in a sterile looking and very bright bathroom, does not hold up as she begins to experience some strange things. Or are they strange at all? Could she just be the nervous type? Does she react with fear when certain things, that we see as mundane, occur? These are questions that are explored as the short progresses.

Kahn smartly interjects very nifty and calculating things into the 14 minute short. He establishes claustrophobia with the tiny confines of the bathroom. He sets up isolation with his lead by having her home alone, taking a bath, with only her small dog nearby. He cuts in shots of leaky faucets, drains, mirrors and a small black radio to build the suspense.

While Rabideau undresses and begins to bath and shave her legs, Kahn begins his manipulations and causes her to begin to show and express fear, doubt and uncertainty. He manuevers around the bathroom using cues right out of a Hitchcock film (Psycho being the one we immediately think of), Rabideau herself, is reminiscent of the ill fated Marion Crane. A curtain, a woman un-dressing, blood going down a drain and even facial close up’s of our lead actress all are made alarmingly and convincingly substantial.

Well, things escalate and Rabideau finds herself suffering from a very spooky time trying to take a bath. Even as Tears for Fears’ reverential song, “Pale Shelter” plays on her radio, it is apparent that she is very uncomfortable with the situation, yet nothing apparently manifests itself. Even as she looks into the mirror (as this point we hear bits of the opening overture of Kubrick’s “The Shining”), we expect to see something that will frighten us. But for Kahn’s film, it is what we do not see and how our protagonist reacts to that. As she tries to bath she still sees and hears things like radio static and whispering. (gotta gives kudos to playing “Hurricane” from MS MR, too)

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Kahn frenetically wraps up the short as Rabideau ventures outside the bathroom into a house that is right out of a nightmare. It is dark and only lit up by sporadic bursts of lightning. Here, Kahn puts Rabideau through her paces as she crawls in utter despair around the light deprived dwelling. The short continues to explore what this all means by not handing us a play by play breakdown but by leaving all of these things to our imagination. Is she alone in the house? Is she hallucinating? Why is she so terrified?

Rabideau, who falls a bit flat with some line delivery, still shows us how well she can emote and express fear. Kahn handles everything in the short with commendable capability and when the lines blur he shows us that not everything can be explained and wrapped up tidily.

“Fear” is an impressive short with big ideas and it is slick looking and edited with the the right running length to tell it’s simple story about one woman’s night of manifesting that raw and primal emotion that is always within our psyche: Fear.

Enjoy the Trailer Below!

TEARS for FEARS /  PALE SHELTER

MS MR /  HURRICANE

1984-a-thon Movie Review: John Carpenter’s “Starman” (1984)

26 Tuesday Aug 2014

Posted by in Movie Reviews, Sci-Fi Movies

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1984-a-thon Movie Review For “Forgotten Films“

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“Starman” (1984)

From Vic of “Vic’s Movie Den”

What’s it About?

An alien takes the form of a young widow’s husband and asks her to drive him from Wisconsin to Arizona. The government tries to stop them.

Directed by John Carpenter

By Vic

Director John Carpenter (The Thing, Dark Star, Christine) has been, by default, labeled as a “Horror Film” director. Obviously, because of his predilection for making multiple films in that particular genre. A few of them being very highly regarded, like “Halloween,” “The Thing” and even the under-rated “In the Mouth of Madness” which starred “Jurassic Park’s” Sam Neill.

Carpenter’s adaptation of “Christine,” released in 1983, was a moderate success for him (and Columbia) even as he proclaimed afterwards, that it was a “paycheck” gig and he needed a job after the disastrous box office performance that hampered his earlier effort, “The Thing.” Meanwhile, back at Columbia Pictures, the script for “Starman” stood languishing for several years. At Michael Douglas’ request the story was purchased but was bumped around, at times involving big names like Ed Zwick, John Badham and Adrian Lyne. Eventually the project was narrowed down to directors Peter Hyams (2010) and Carpenter.

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What sold Columbia (and was a perfect decision) was Carpenter’s approach to the story, relying greatly on the “Road Trip” aspects of the story allowing the characters of Starman and Jenny Hayden to flourish and develop. Jeff Bridges (King Kong) was cast as Scott Hayden (Starman) and Karen Allen (Raiders of the Lost Ark) as Jenny. And of course, the directing duties went, smartly, to Carpenter. Carpenter’s film is a unique sci fi tale of honest proportions and it has a clear and emotional message that is very reminiscent of older films where the two leads establish a rapport under singular circumstances.

Columbia decided to minimize the similarities to Spielberg’s “ET” and keep the overtly political themes under control in order to comply with Carpenter’s vision. The result being a significant entry in Carpenter’s, Bridges and Allen’s careers. “Starman” is an intelligent sci fi story which benefits from the tight and respectable writing of Bruce A. Evans and Raynold Gideon. Along with JC, Composer Jack Nitzsche and Director of Photography Donald Morgan (who also shot “Christine” for Carpenter), create a beautifully rendered universe that is rural, down home, real and endearing. Nitzsche’s score will have you hooked from that first electronic note.

After receiving the multi-lingual messages left on the “Golden Disc” aboard “Voyager 2” (launched in 1977), an alien race sends an emissary to earth in the form of a glowing “energy ball,” to make contact. But, (borrowing from films like “The Day The Earth Stood Still”) as a response to the visitor’s approach, the Air Force reacts with hostility and shoots down the craft. It ends up landing violently in Wisconsin, where widow, Jenny Hayden is drowning her sorrows while watching home movies of her late husband, Scott (Jeff Bridges).

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Eventually, as it tries to find a way to survive, the alien re-shapes itself using DNA from a strand of Scott’s hair, lifted from Jenny’s photo album. As he evolves into an adult, in a very awesome practical FX sequence, Jenny looks on in disbelief. After the initial shock wears off, Jenny realizes that her dead husband, Scott, has been re-animated as “Starman,” who, in response to the hostile nature of the Government (aside from SETI scientist, Mark Shermin, played by Charles Martin Smith), tells his people to pick him up at Arizona’s Berringer Crater in 3 days (yeah, the movie is packed with religious allegory). Starman coerces Jenny into helping him get there in time to meet his rescue party and avoid detection from NSA Chief George Fox (Richard Jaeckel) during his stay.

What ensues is a heart warming sci fi romance that may surprise and enlighten many of today’s audiences used to big, over the top, CGI and loud and overdone action sequences. “Starman” ain’t that type of movie, folks. It is a bit of a timeless fare that still holds up very well by today’s standards. Propelled by the amazing performances of it’s leads, the film is a lesson in simplicity and raw emotional honesty. The complexities are kept to a minimum and Carpenter’s direction flows nicely and still exploits that great cinematic eye for composition and detail that is a brilliant staple in all of his films.

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Despite the convention of the Government being the “bad guy” (Fox has little to no motivation for chasing down Starman, here) and the “by the book” turn by C. Martin Smith as the one caring person who is trying to look out for Jenny and Scott, the movie is an impressive collection of touching and poignant rural vignettes.

Carpenter’s film explores themes of companionship and harmony. Jenny shows Starman how to fit in, in an already somewhat, xenophobic society that is full of the fear of the unknown and of those who “aren’t from around here.” Bridges plays incredibly well opposite of Allen as he learns to walk, talk and even comically drive (“yellow light means go faster”). Bridges’ unique take and interpretation of what an alien in a “human suit” would act, look and feel like is incredibly profound. Carpenter and Bridges took this very seriously and had multiple discussions on how to establish the look and feel of Starman / Scott. It turned out to be an amazing performance that earned Bridges an Oscar Nomination for Best Actor in 1984 and the only Actor nod for a Carpenter film.

Using his various steely looking “energy marbles,” Starman also displays his powers when provoked and his ability to heal and repair when faced with loss. In a stunning moment, Starman learns in a Truck Stop, about the consequences of hunting animals and when he does not understand, he is faced with more questionable behavior from the locals. But whether or not you agree with the various approaches to these dilemmas, Carpenter never shies away from letting his leads really act. They really bring their A game in this movie and it genuinely shows.

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“Starman,” which I actually saw in the theaters back in 1984, is a quirky film about a quirky alien. It is very moving at times and often silly fun as well. The balances are well kept in place by Carpenter’s deft direction and the extremely sweet exploration of the characters by Bridges and Allen. Even by it’s conclusion, after the wonderful ‘road trip” mid-section, the audience is left very satisfied that this “alien meets a widow” story has gone full circle. Carpenter’s vision and focus sheds any pretense he may have had as a schlocky horror movie director.

Carpenter and company flex their artistic muscles in this great sci fi film from 1984. It is often over-looked or even forgotten but once someone discovers it, it definitely becomes a movie that resonates on a few levels. I wanted to keep the spoilers at a minimum for those who would like to re-visit it or watch it for the first time. Highly recommended!

My sincere thanks to Todd from “Forgotten Films,” for the gracious invitation to review “Starman” for his 1984-a-thon. I had a blast and I hope you enjoyed it!

Vic’s Note: John Carpenter’s “Starman” is available on Netflix Streaming and on Amazon for Prime Members.

 

Vic’s Classics – “Abbott and Costello Meet Frankenstein” (1948) (Re-Edited)

09 Wednesday Jul 2014

Posted by in Horror Movies, Movie Reviews, Vic's Classics

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Hey, gang! Vic here with another re-edited and re-vamped review from a while back. This review was originally part of a Blog-a-thon from 2012 started by Andy from “Andy Watches Movies.” I have been wanting to come back to it for some time now and the opportunity has presented itself for me to fix it up a bit and re-post a fresher and newer review. Hope you like it and don’t miss out on the all new images in the gallery below!

Thanks and Enjoy, everyone!

– Vic

What’s it About?

Two hapless freight handlers find themselves encountering Dracula, the Frankenstein Monster and the Wolf Man.

Directed by Charles Barton

“Bud Abbott and Lou Costello Meet Frankenstein”

By Vic

Rating – 10 out of 10

“A & CMF”  is hands down one of my favorite Horror Comedies. Right up there with John Landis’ An American Werewolf  in London, Tremors and Shaun of the Dead.  The insanely popular status that this movie has garnered over the years is definitely warranted. It is witty, funny and yes even scary. It is the razor sharp template to follow if you want to get a horror / comedy done right. The best quality besides the impeccable timing of Abbott and Costello is the fact that that Director Charles Barton and writer Robert Lees treat the Universal Monsters with amazing respect and genuine admiration.

The movie does not parody or pander regarding our beloved monsters In this case – Frankenstein, Dracula and The Wolf Man. Yep, the whole gang is here and what a fun and hilarious ride it is. It is hands down a very nostalgic piece of movie perfection for me.  Eventually A & C would go on to team up with Jekyll and Hyde, The Mummy and even the Invisible Man (Another one of my faves). For now though we get not just one monster but 3 in this one.

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 Chick (to Wilbur) – “Answer the bell! Answer the phone!”

Wilbur – “Which one do you want me to answer first?”

Chick – “Both of ’em!”

The boys, in this film Bud is Chick and Lou is Wilbur, are baggage clerks at a Railway Station in Florida. Wilbur receives a phone call from none other than Larry Talbot (Lon Chaney Jr) from “The Wolf Man” Talbot tells Wilbur that he is a man named McDougal and tries to warn Wilbur that a shipment due to arrive to them for “McDougal’s House of Horrors” contains the actual bodies of Dracula (Bela Lugosi) and the Frankenstein Monster (Glenn Strange) and that they should alert the authorities. Wilbur is convinced that he is being crank called and doesn’t believe him.

Soon enough, Talbot watches as the full moon breaks through the clouds and he begins to transform. Wilbur overhears the change and brilliantly responds to The Wolf Man’s growling by saying:  “You’re awful silly to call me all the way from London just to have your dog talk to me.” Just epic. After this early scene the film solidifies itself into displaying an insane amount of humor and witty repartee. Lou gives this performance of Wilbur his all. He is never better than he is here.

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The real McDougal shows up and is pretty angry as he gets impatient with Wilbur and his goofing around –

Wilbur – “Well that’s gonna cost you overtime because I’m a union man and I work only sixteen hours a day.”

McDougal –  “A union man only works eight hours a day. ”
Wilbur – “I belong to two unions!”

More awesome repartee and it continues throughout the whole movie. As the story progresses the boys deliver the shipment to McDougal’s HOH. Wilbur, already frightened, suspects that something is wrong.  We are then introduced to Dracula as he wakes up and tries to revive the Frankenstein monster. Wilbur of course sees all of this and can’t get Chick to see what he has seen in time. Chick never believes him. Drac and The Monster escape unnoticed. McDougal arrives and he and his insurance agent after finding the crates empty accuse the boys of stealing his prized exhibitions.

Dr Sandra Mornay (The beautiful Leonore Aubert) plays Wilbur’s girlfriend and she receives Dracula and the Monster at her creepy island castle. It seems that she and Dracula are planing to follow Dr. Frankenstein’s notebook and have Wilbur’s brain inserted into the Monster’s. Sandra is just using Wilbur for this very purpose.

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Without doing a huge recap, I just want to go into why this movie rocks to no end!

– There is a very cool animation opening credit scene!

– There is an epic animated transformation scene where Drac turns into a bat and vice versa.

– Glenn Strange as the Monster gets to speak! “Yes, Master.”

– Bud Abbott is really incredible here. I can’t give Lou all the credit. His turn as “Chick” is spot on and even though he plays the straight man to Lou he gets in a funny part here and there like when he pretends to be hypnotized by Wilbur. Great stuff.

– The film looks great in black and white. No other way to watch these great monsters. It sports some great cinematography and some great sets and effects.

– Lugosi and Chaney give great performances. Chaney is sympathetically crazed here and Lugosi is very suave and menacing in his last turn as Dracula. He is way more charming here than in the 1931 film.

– Charles Barton keeps the pace fast and furious always giving the actors a ton of room to improvise.

– There is a surprisingly shocking scene where Frankenstein’s Monster literally tosses Sandra out of a window to her death below on the Castle rocks. Just as brutal as when Karloff dispatches the small girl in the first film.

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Finally the last act of the movie is INSANE! There are crazy face off’s between Dracula, Frankenstein and the boys as they try to escape the lab and the castle but not before they suffer through some great physical comedy. There are walls that revolve (a classic device in these horror films), a great lab scene that has The Wolf Man and Dracula fighting each other resulting in Dracula turning into a bat to try and flee but not before The Wolf Man grabs him and dives out a high castle window. It’s a classic sequence that is quite successful in being entertaining and suspenseful at the same time.

The best reason to watch is two fold though. Watching these great monsters in a battle royale of sorts and having the opportunity to watch A & C do their thing here. Great dialog, great timing,  great chases and excellently staged comedy and slapstick. Yep, Wilbur gets a few slaps across the face here and there. Now everyone knows why I get Nostalgic for this great Horror / Comedy!

Enjoy the image gallery below!

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Vic’s Review – “Cabin Fever: Patient Zero” (2014)

28 Saturday Jun 2014

Posted by in Horror Movies, Movie Reviews

≈ 11 Comments

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What’s it About?

When a group of friends enjoying a bachelor cruise in the Caribbean stumble upon a research facility on a remote island, a deadly virus is unleashed.

Directed by Kaare Andrews

“Cabin Fever: Patient Zero”

By Vic

I’ll be honest with you, all, gang. I think I have only seen the first “Cabin Fever,” film from Eli Roth, once. As well as it’s sequel one late night on cable. I am not a card carrying fan of the franchise but I was curious to see what the hub-bub was all about since I’ve been reading and coming across reviews that herald “Cabin Fever: Patient Zero” as a much needed return to basics, adding much needed “new blood” to the series.

Comic book artist and writer Kaare Andrews (The ABC’s of Death) is behind the lens on this entry and right out of the gate, I could tell he is well versed in what makes cliched and schlocky gore flicks work. That may not be a great testament for the movie but if you temper your expectations and keep them practically non-existent, then you may dig this one. Emphasis on may. Andrew’s film is a horror quickie niether grand or completely abyssmal. Just not impressive on any scale, really.

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It is a mutt of a film that borrows from those tepid Saturday afternoon Sci Fi (or is it SyFy?) movies where scantily clad men and women get killed, usually near or on an island, ocean or even a beach. As well as borrowing from virus films about poor infected people running around bloody and covered in yuck and gore like the “28” films. This time, though, Andrew provides a bit of a back story that involves an infected patient/father (his son was infected and died) that is immune to the flesh eating virus. His name is Porter, played by Sean Astin, of the Lord of the Rings Trilogy (where the hell has he been since 24?). Porter is discovered and put into quarantine in a clandestine medical facility with a Project Leader named Dr Edwards (Currie Graham of Hitchcock) who has a sinister agenda (don’t they all?). What ensues is an un-dramatic series of exchanges and occurrences involving Edwards, Porter and a bevy of medical staff poking and prodding Porter to try and discover the reason for his immunability.

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That all aside, the rest of the story involves a young man named Marcus (Mitch Ryan) in the tropics who is engaged and is tricked into going on a final yacht cruise to a secluded island for his bachelor party. He goes reluctanly with his brother, his brother’s girlfriend and a best friend and business partner. He leaves his fiance behind with her stuffy and rich family for the one day/night. During these scenes, one cannot escape noticing the limitations of the budget and story as the intros feel very hokey and banal. In other words, we’ve all heard this familiar tune before.

The characters are all terribly cliched, flat and uninteresting not to mention all are unlike-able. The set up is like a bad soap operatic version of a SyFy original monster movie or even a grade Z version of the recent “Piranha” movies. There is sex, sex jokes, weird locals, drunk guys, boobs, stupid people saying dumb things and horrid acting. At least the locale is nice to look at but the rote camera-work and editing does not let one appreciate it much.

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The movie feels extremely manufactured and there are feeble attempts at tension, drama and personality clashes that are very distracting and unnecessary. Once Marcus, and the rest, reach the island and after his brother and girlfriend go snorkeling, do things pick up a bit. While out in the water they discover body parts and dead fish and rotting corpses. It isn’t long after that Andrews connects both plotlines, narratives then even the characters. Then he tries, none too successfully to kick the gory action and claustrophobia into high gear. One of the characters, named Penny (Jillian Murray of Bad Ass), begins to exhibit signs that the flesh eating virus is inside of her and in one really gory and comedic moment, during some kinky oral sex, we find out that Penny is ripe with the stuff also infecting Marcus’ bro, Josh.

Marcus and Dobbs head out to the island interior trying to find answers while Porter is languishing in the facility with only the responsive Doctor, Camilla, to ease his mind. But Astin, who seems to be on auto-pilot here, is probably one of the only saving graces of the movie. He is tight but not very dynamic and rounded. He has a back story, but one isn’t too keen to care about it all. It is a bit of a mystery and Porter’s dilemma is milked to an interesting degree culminating in a flashback after the final act in the medical facility when the plot unfolds with Dr Edwards, Porter and Marcus. Everything else is by the numbers, though.

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Unfortunately, there isn’t much to recommend in “Cabin Fever: Patient Zero.” I would suppose it is for die hard fans of the franchise and even then I would feel safe to assume that fans will feel a bit cheated with the very low budget and small trappings of this installment. Small is cool, for a flick like this, but when paired with the pedestrian tropes that are done over and over, it is quite a deflating affair. It just reeks of “been there, done that.”

There isn’t much new, here and despite having some genuine sensibilities that even Roth can get wrong sometimes, the movie loses momentum and is just a disposable gore filled curio. Only watch this one if you have nothing else lined up or just want to kill some time with a brain dead horror sequel just for shits and giggles. And of course there is an open ended last moment in the movie and if there is another entry in the works, they should concentrate on story, story, story first and foremost other than generic shocks and gore. Do it as a rental, gang, then decide if it’s for you, for a purchase, afterwards.

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Vic’s Review – “Godzilla” (2014)

25 Sunday May 2014

Posted by in Movie Reviews, Sci-Fi Movies

≈ 30 Comments

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What’s it About?

The world’s most famous monster is pitted against malevolent creatures who, bolstered by humanity’s scientific arrogance, threaten our very existence.

“Godzilla”

Directed by Gareth Edwards

By Vic

Hey Densters! Vic here with a brief review of director Gareth Edward’s (Monsters) new sci fi monster flick, “Godzilla.” I am going to keep this one kind of short and simple, though, gang (I hope). Not going to go into every aspect of it this go around. Just about every smart and astute blogger out there has already reviewed this bad boy in great and eloquent detail and I am a bit late to the picnic with this review.

We all just about know the story (by Max Borenstein and Dave Callaham), which is, that the irradiated and pre-historic big G returns from hibernation to go after not one, but two radiation consuming beasties called “Mutos” that threaten the very existence of civilization. Yeah, the story is more complex but I won’t go into all of that right now for the sake of brevity. We also know the well rounded cast (all of which I enjoyed thoroughly especially Cranston): Aaron Taylor Johnson, Elizabeth Olsen, Juliette Binoche, Bryan Cranston, David Strathairn and the ever cool Ken Watanabe as Dr. Serizawa.

The film, for the most part is getting very good reviews and positive buzz and despite all of that the movie does have it’s fair share of detractors but I am going to admit that I am in the majority, here. For those expecting “Pacific Rim: Redux” then look elsewhere. This Godzilla movie is a different albeit refreshing animal.

My son, Christian, his friend Zack and I went to see “Godzilla” yesterday and we accidentally went into the wrong theater. After some time we noticed we were in 3D theater. Duh. Yeah, we’re boneheads, to be sure. After we griped a little at first we settled in and enjoyed the show. Thank the Godzilla Gods there were some spare 3D glasses laying around.

What I liked about “Godzilla” is that Edwards gave the film his own stamp and feel even though some of the routine machinations (kids in peril, shots of people in awe, panic scenes, etc) resembled the works of other sci fi directors like Spielberg and even James Cameron, it still all worked well for me. But, in my opinion, that was all to be expected.

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Edwards is delivering a blockbuster and he is sticking to what works. I actually liked the slow build up and methodical approach to the material and even though this film lacks the deep symbolism, gravitas and metaphor that Honda’s 1954 outing has, it still has a respect and reverence for the mythos that I admired. Even though the re-working of the entire purpose and re-creation of the origins of Godzilla were changed, I adjusted to the re-interpretation pretty quickly and without much protest.

Also, the CGI is incredibly impressive and yes, it’s “massive” in scope and scale. G and the “Mutos” (as well as cityscapes, landscapes, battleships and jets) are all rendered with amazing detail and depth.

Impressive as well is the imagery and photography (some of which is very reminiscent of Spielberg’s JP, like shots of individuals through rain soaked windshields) that Edwards provokes in this movie. His DP Seamus McGarvey, who shot “The Avengers” does a fantastic job in maintaining realism and verity with his monster styled palette.

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Well, I did say this was going to be short so in closing, I loved Alexandre Desplat’s score as well. It was nuanced, heroic (more so for the monsters than the humans) and had some levels of tonality that is rarely found in sci fi films. The track playing during the parachuting sequence was a cerebral piece that harkens back to Kubrick’s cosmic bedroom in “2001: A Space Odyssey.” (More specifically Gyorgy Ligeti’s “Requiem”) It was an inspired choice for the “HALO” jump sequence.

The action, CGI, heroics and pacing all work well for me and the movie surely brought out the inner kid in me and granted the film is not perfect (and I am not going to pick it apart to the point of sounding overly critical) and it is just mindless sci fi monster fun in the grand scheme of things. Even though the human element and drama that Edwards builds upon is not quite sustained and interesting throughout, it still somewhat heartfelt (Once Cranston is off screen, the drama becomes a bit remote and trite).

The teases of Godzilla as well can be a bit frustrating but the payoff makes up for that and it is resolved to become a grand and epic monster flick. that is why I enjoyed it so much and it meant so much to me that my son, Christian, was with me enjoying the heck out of it as well. It was a big deal for his old man to have him watch a Godzilla film that was enjoyable, witty, big, loud and diverting. Go see it, kaiju fans!

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I did say that “Godzilla” was reviewed with much more depth, detail and specification by some really great bloggers out there. Here are some stand-outs. Check them out please!

Keith and the Movies

http://keithandthemovies.com/2014/05/22/review-godzilla-2014/

Tim’s Film Reviews

http://timsfilmreviews.com/2014/05/18/godzilla-2014-review/

Mike’s Parlor of Horror

http://parlorofhorror.wordpress.com/2014/05/16/godzilla-2014-movie-review/

Dan The Man’s Movie Reviews

http://dtmmr.com/2014/05/16/godzilla-2014/

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