61 Days of Halloween: Vinyan

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment, I will try and suggest something worth while as well.

Vinyan

Vinyan was an unknown horror-drama film to me before picking it up at Best Buy one day. This film is an absolute success visually and there are myriad reasons why. Students of cinematography should watch this film because rarely if ever have I seen so many different techniques employed in a single film so naturally, and effectively. It was most certainly not what Hitchcock would’ve called “pictures of people talking” but rather “paintings in which people moved.”

A second, solid bonus is the performances of the two leads. Emmanuelle Béart especially is fantastic as usual and definitely gets to flex her muscle as she slowly loses her bearings over the stress of thinking she has seen her long lost son. Rufus Sewell’s performance is no less complicated. He is strong and must get angry, impatient, and sympathetic. He must also try to deal with the possibility that Béart is right, and try to be the grounded one, while he is just as stressed.

While the inciting incident, first act and first plot point are very strong the film does sort of lose a little bit of its momentum after the idea of the Vinyan is introduced. Aside from being onlookers they never assert themselves as a presence psychologically or physically and that is what ultimately leads to this film falling short of greatness that and the herky-jerky pace of act two.

The ending’s disturbing nature, and rightness in timing, doesn’t quite make up the squandered potential the film shows. The visual variety ultimately save it some examples are: a shot of foreground colored differently than the background, the red lighting in the rain, the use of an overhead shots, POV of a man being buried, shafts of sunlight through the trees, fog, fog and light through the trees; a silhouette and more. If only it had closed the deal narratively speaking and accompanied the visuals better.

7/10

61 Days of Halloween – Drag Me to Hell

Posted on by bernardovillela

Drag Me to Hell is director Sam Raimi’s latest offering and a film which some had expected and hoped to be his triumphant return to the horror genre. Pair that with this being the first major production by Ghost House Pictures who have been unearthing and presenting some gems on DVD and it had some things going for it that would make one think it was a “can’t miss” hit. Well, it did miss – by a lot.

The main issue this film has is that it tries to be too funny sometimes, so blatantly that the film becomes a parody of itself. In one scene the protagonist, Christine (Alison Lohman) is in the tool shed gathering things to hock at the pawn shop and has an encounter with Mrs. Ganush, the Gyspy who cursed her. The old woman shoves nearly half her arm down Alison’s throat. Alison only escapes because she cuts down an anvil that is hanging conveniently over the Gypsy woman’s head. Are you kidding me? When did this turn into a roadrunner cartoon? The Evil Dead, which is one of my all-time favorite horror movies, was tongue-in-cheek and wasn’t trying nearly as hard to amuse you as the sequels and this did.

Of course, the Gypsy curse is old hat in horror terms so nothing exciting there. What this film gave the inkling of was perhaps a vision of hell. Nope, sorry, none of that either. While it is gross on occasion, even that is inconsistent. Alison is at the Gypsy woman’s viewing and the corpse spills out spewing bile (or enbalming fluid) on her, CGI bile not the good, real stuff. There are just so many examples. I will not elaborate on the nosebleed all I will say is it was just too much.

Pacing and overall lack of surprise is an issue as well. There were two instances in the film where you knew that couldn’t be the end but things seemed neatly resolved so either some not-so-exciting twist would come along, or a long explanation scene with new rules about the Lamia would ensue.

The craft of acting generally suffers in the horror genre partially because people with chops don’t want to be involved with it or the parts are too superficial. The supporting cast overall holds their own but Alison Lohman in this film had to carry it and she let it down by being a mousy, annoying, air-headed and unsympathetic version of Jenna Fischer, and in a couple of scenes towards the end she did her worst Bruce Campbell impression.

There was not a moment in this film that was genuinely scary or funny. The only thing that kept it on its feet was a halfway decent concept, the sound mix and the occasional practical or special effect, but even that gets old after a while. Of course, the blame, if you don’t like it, should go towards the filmmakers but spare a thought for the MPAA. Their undue influence on the marketability of films is what helped create this avalanche of PG-13 horror. So we get watered-down, tween-friendly garbage and this is another piece to add to the scrap heap. It’s a colossal waste of time.

3/10

61 Days of Halloween: Cat in the Brain

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it. Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now. Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment, I will try and suggest something worth while as well.

Cat in the Brain

This review does pertain to the DVD edition of the film.

Lucio Fulci’s Cat in the Brain is a must-have for any fan of giallo or Italian horror in general. And for all those enthusiasts, I have no tolerance for Fulci vs. Argento arguments – you can’t have one without the other, and talks of rivalry between the two are greatly exaggerated. Also give this film a chance and don’t dismiss it merely because it is “late Fulci.” Lucio Fulci himself stars in this film, and like most directors he is not mistaken when placing himself in this role, as Fulci plays himself he creates an interesting little bit of simulacrum while also turning the typical giallo formula on its ear. The premise is simple… Fulci is getting paranoid having visions of gruesome murder scenes he has filmed both in his current film and in the past. The film cleverly uses clips from Fulci-directed films such as Touch of Death and The Ghosts of Sodom to be both Fulci’s delusions and the blueprint for the killer framing him. Fulci ultimately thinks he’s the culprit when tricked by his therapist while under hypnosis. This is where the twist occurs and the formula is turned upsidedown. Usually the killer’s identity is a mystery to the protagonist and the audience. Here the protagonist thinks he’s guilty and the audience knows who is at fault. And the twist at the end is quite effective, as the film blurs the line between memory and reality and film and reality throughout. The best thing about this film it is that it lives almost entirely in the head of the protagonist who is so stressed he is constantly delusional. That allows for probably more splatter-filled moments than any Fulci film ever made. Many Italian horror or giallo film’s titles are based on minor plot points or metaphors. This one is actually more fitting than many after an opening shot and a mention in dialogue later. For those unfamiliar with the genre this may be the best introduction to the way Italians like to do things and considering the “clip show” approach if you don’t like Fulci after this you never will. The DVD is loaded with bonus features and includes the original Italian audio track with subtitles which makes a huge difference in the quality of the film, as dubbing helps to ruin so many films. 7/10

Camera Movement in Fear of the Dark

Posted on by bernardovillela

Film Criticism can be applied anywhere and a salient, valid point can be found in nearly any film whatsoever. A case in point would be the film Fear of the Dark. It’s a 2002 independent Canadian production and co-stars Kevin Zegers, best known from Transamerica, and Jesse James, best known as Helen Hunt’s son in As Good As It Gets. It’s a low-budget horror film with deals with a very simple concept, which is “What if there are beings in the dark to be feared, and what if they can hurt you?”

This was a film I recently re-viewed and what struck me was the amount of movement the camera made in the course of the film. It’s all to build tension and was effective but what was striking is that since handholding wasn’t exactly as in vogue when this film was made as it is now so the movements were almost all controlled dollies, pans, pushes, and tilts.

In all, the estimate is 225 shots in the film in which there is significant movement. The film runs 86 minutes so that’s an average of 2.6 moving shots per minute. That is dedication to a stylistic decision. What’s more the shots are very creative such as:

10. Tracking shots following skateboards.
16. Vertigo shot pushing down the stairs.
66. Reflection shot in mirror pull back and create an in-mirror Two-Shot/OTS combo.
76. Swish Pan.
91. Sped up dolly shot.
93. Crane down on house.
103. Push in reverse.
123. Circle shot.
211. Tracking and Reverse Tracking.

These are just some of the examples. Kudos to Marc Charlebois the Director of Photography and Director K.C. Bascome for daring to move the camera with a purpose and with effect and not whipping it about willy-nilly.

61 Days of Halloween- House (1977)

Posted on by bernardovillela

House directed by Nobuhiko Obayashi is a film which makes one glad simply because of how inventive it is – even if it’s not great. Never have so many cinematic techniques been crammed into one small film: still montages, wipes, irises, superimposition, distortion, black and white; the list is seemingly endless. It not only uses them but uses them correctly, well and never without some justification.

The second technical thing of note to House was that as the film was about to start it became clear by the side masking sliding in that the film was shot in 4:3. This is an interesting and effective decision for a number of reasons. It’s interesting because with the advent of Cinemascope shooting full-frame quickly became passé but this decision is incredibly inspired as it gives you a myopic glimpse into a kinetic world that holds your gaze completely.

The tone of this film is an interesting one. While it is great that it does build up the protagonist, and we get to know her and her friends, the tone shifts radically many times which shift focus away from her character later on. In terms of differing tones, there is a very tender scene between the protagonist and her father, several slapstick portions reminiscent of silents, comedic portions in the open and Kung Fu; then as they arrive and stay at the aunt’s house it will stay mainly horror but blend all that came before in and more. While the tale is one of witchcraft and occasional gore, it’s never what you would call terrifying but always entertaining even if predictable in terms of its end result.

It’s ultimately a very fun movie to sit and watch, even if you’re not in to counting techniques. It is, however, better if you are not thrown by things which come out of left-field because almost everything does.

To watch this film you will also need a very high tolerance for bad pre-1980 effects work because there are times you can taste the green screen so much it’s nearly nauseating, but in a way it adds to the charm of the film because it never seems to take itself too seriously.

However, if you like great cinematography this film is definitely for you. The aforementioned conversation between the daughter and father alone is nearly worth the price of admission with the supernaturally saturated background and the shots through the glass. The camera work is always appropriate for the tone at current, as is the lighting.

Ultimately, the greatest treat was in being able to view a previously unseen film in the States on the big screen where it belongs. Any film disappearing from public knowledge or not being known is a sad thing and kudos to Janus for finding a genuine original and putting it on display for the world to see.

House which was originally released in Japan in 1977 slowly made the theatrical rounds here in the U.S. and is available from Criterion on home video.

8/10

For Dario Argento Filmmaking is A Family Business

Posted on by bernardovillela

A few years ago I was fortunate enough to attend a horror convention that Dario Argento was attending. The following is a repost based on questions that I and a friend of mine were able to ask.

A friend of mine asked Dario Argento during a Q & A session at this year’s Monster-Mania on March 13th if he found it challenging to work with family. His answer was quite insightful and rather great.

He said it’s like a “bottega nascimentale,” which is roughly translated as a family business. He said it’s easy his grandfather was a distributor his father and brother are producers. Now his daughter Asia is a actor and director. He called it the “Italian style” and it is truly the only way he knows how to work and it’s worked well for him.

Dario Argento Says No to Prequels

Posted on by bernardovillela

A few years ago I was fortunate enough to attend a horror convention that Dario Argento was attending. The following is a repost based on questions that I and a friend of mine were able to ask.

While at a Q & A session at Monster-Mania I managed to ask a question. It was as follows:

Considering that the flashback that acts as a frame in Deep Red is one of my favorite flashbacks have you [Argento] ever considered expanding that story into a prequel?

The answer was short, sweet and pretty funny.

“No, no, no. That’s a joke; for money. The movie is the movie.”

Rewind Review – Let Me In

Posted on by bernardovillela

If there’s something I try to avoid, and most of the times succeed in doing, it’s comparative analysis as a film review. In the case of Let Me In, that is nearly unavoidable seeing as how, in my humble opinion, Let the Right One In, the film upon which it is based, was the best film of 2008. However, owing to the fact that many reading this will not have seen that film I will attempt to keep most of my comments to germane to the latter version alone.
First, to allay fears of the devotees. Gus Van Sant set a very dangerous precedent in the world of remakes by choosing to reshoot Psycho a feat of little to no merit considering what Hitchcock’s opinion of principal photography was that “it’s all mechanical.” This remake is not like that. Being faithful and reverential will undoubtedly get you similar shots but it is not a shot-by-shot remake. Some scenes are not there, some scenes are re-arranged some things are altered entirely to make the tale more American.
My main concern was making the story an American one without forcing it. I think a lot of attention was paid to finding a way to make the story elements seem American and to actually retell as oppose to changing for changing’s sake. There were actually some inspired brilliant touches in that regard.

Is it very similar to the original and will you be anticipating certain scenes and be analyzing via comparison whether you want to or not? No question. Does that make it a difficult watch at times? Yes, but it does draw you in and stand on its own two legs and in the end it does become emotionally engaging and not feel like it was a waste and thus the antithesis of the Psycho remake. Not only because there are certain parts of the film excised to make it a more myopic version of events within the story but also there was a literal change of pace in certain parts, certain parts played more languidly other sped up. It was like a reinterpretation of a classical music piece rather than a crass cover by a hack pop artist.

The film, of course, would never work without the right cast in place and the two most important characters in this tale are the kids: Owen, a picked on loner who is dealing with a divorce at home and Abby, a girl who is new to the neighborhood who has a gruesome secret. If you’ve seen either Kodi-Smit McPhee (The Road) or Chloe Grace Moretz Before (Diary of a Wimpy Kid, Kick-Ass) you know some of what their capable of but this film blows it out of the water. They are astounding and shoulder the tremendous burden of this film with ease.

This film’s horrific elements shine through quite a bit even though it is not high on the typical gruesome, gory scene that we are so accustomed to. Knowing both these characters so well their revelations carry weight and heightens the few instances that do occur. Yet the film is also taut with real human emotion as the coming of age aspect is not buried. There is the divorce, the bullying the awkward kinship that slowly Owen and Abby start to build.

At one point Michael Giacchino’s score becomes too lilting and circular like an anti-Philip Glass such that it wasn’t ambient anymore and made me pay careful attention to it the rest of the way, which is unfortunate because the rest of it was much better and quite good. It just became a distraction when it couldn’t afford to at all.

The cinematography by Greig Fraser was very noteworthy and looked fantastic. The playground scenes were as opulent as shots with negative fill could be and in much of the scenes the intimacy or claustrophobia of the tale was heightened by the framing and the lighting.

There will always be those who hate a remake just because it’s a remake. It is human nature to pick and choose. The bottom line as a fan of this story was that once I heard this was announced all I could do was cross my fingers because it was going to happen whether anyone liked it or not. I am glad it came out this way and kudos to Matt Reeves for tackling a leviathan of modern horror.

9/10