61 Days of Halloween- The Curse

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 so I will try and suggest something worth while as well.

The Curse

Wil Wheaton in The Curse (Trans World Entertainment)

Granted, this like most adaptations of Lovecraft is quite changed but from those I’ve seen so far this has been the most faithful. Lovecraft is often described as un-filmable and it’s interesting to note that a few people will reportedly step up to the challenge in the near future, namely Guillermo Del Toro with At the Mountains of Madness (currently scrapped but rumors persist) and Ron Howard with a Lovecraft-inspired tale.

As for the film at hand it is based on “The Colour Out of Space,” which is quite an eerie tale scribed by the master of supernatural fiction and this movie captures that. Yes, there are some very cliché things in this film and David Keith couldn’t direct a PSA but yet this movie manages to work mostly due to the handling and quasi-faithfulness to the tale.

The movie is just freaky. It scared me quite a bit and I don’t scare easily. It’s not too proud to be grotesque. Had Claude Akins and Wil Wheaton not been in the cast it might have been just another hackneyed contrived 80s slasher film but their performances coupled with a unique and affecting score make it work.

I was quite uncertain as to whether I wanted to see this or not. Now I’m glad I did.

If you are interested it is available as a combo-pack on both Amazon.

9/10

61 Days of Halloween- Die, Monster, Die!

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 so I will try and suggest something worth while as well.

Die, Monster, Die!

Boris Karloff in Die, Monster, Die! (AIP/MGM)

There is plenty to talk about when it comes to Die, Monster, Die! Firstly, it is an adaptation of the H.P. Lovecraft short story “The Colour from Outer Space.” This is quite a different take on the tale than offered up by The Curse, not only is the story transplanted to an upper crust English family but it is done with American International Pictures’ usual flair. The flexibility of the tale proves it is one of the best the horror genre has to offer.

It’s a film, which like Psycho, believes that an opening title sets the tone for the film and is not a throw away. It is also a rare late-career appearance by Boris Karloff in which his talents aren’t wasted but in fact utilized.

The cinematography is spectacular not only in is atmospheric use of fog to start but in terms of framing, contrast and use of color. The framing being particularly aided by the decision to shoot 2.35:1. However, the art direction, as is often the case, is a co-conspirator in making this film look fantastic. The sets both interior and exterior are precise and meticulous, dilapidated where needed as well as ornate where necessary.

The effects for the era are quite impressive and artistically rendered both with the melting face and also at the end with the glowing head, if you see it you’ll know what I mean.

This film is available both on DVD and to stream over Netflix. It is a film whose title, like many of those in the halcyon days of cinema, belie the quality of the feature contained. Make no mistake that despite its B-movie moniker that Die, Monster, Die! is a quality piece of cinema and a valuable addition to the horror genre.

10/10

61 Days of Halloween- Freaks

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 so I will try and suggest something worth while as well.

Freaks

Freaks (MGM)

I was told by a film professor that this was the only horror film he’d ever seen that had any sort of ‘timeless resonance’ with him. Upon seeing the film and reading these reviews I’m left scratching my head. The one word that came to mind as I was watching this movie was “flat.”

Also, there are a few misconceptions about this film:

One, aside form the ending there is no horror in this film it is a drama that toes the line uneasily with melodrama, melodrama in a bad sense as the word is not necessarily always a pejorative.

Two, I don’t find the freaks vulgar and/or offensive which is what categorizing this film as horror indicates. While their plight is sad and this film does portray their objectification well but in the end all it does is feed on our juvenile fear of the odd-thing which frankly doesn’t frighten me.

Freaks was a shocking film and controversial upon its release, however, now it merely comes across as dated. If you wanted a list of milestones in horror film history this film would be there, however, on a ten best list I’d most definitely exclude it. Milestones and great films are not always one in the same.

6/10

61 Days of Halloween- Vampire Circus

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 so I will try and suggest something worth while as well.

Vampire Circus

Lynne Frederick in Vampire Circus (Hammer Films)

It is so great that Hammer Films is back in business and seeing something of theirs was bound to occur before October the 31st rolled around. What is so great about Vampire Circus is that there is no concept of safety. Many of those who are familiar with the genre will know what I mean.

There are likely many horror films you’ve seen where you’ve sat there and predicted in your head the characters’ odds of survival, something that Feast used to cheat our expectations. More often than not you’re right and some characters are safe. Well, in this film the outcome isn’t impossible to predict but getting there is made difficult by the fact that very few people are safe from the vampires, which makes for some very pleasant surprises.

The prelude to one of the kills is downright magical in conception and execution and it’s things like that which will make you forgive inconsistency in the practical effects work.

Aside from the fact that you just can’t not like a film that tells you exactly what you’re getting- yes, there is literally a vampire circus. Make it through the prologue which is quite an interesting sequence in and of itself and the artfully done time passage through the opening credits and you will see the circus.

It’s a fun little film which is the rare home viewing experience that required no break in watching it at all. Very much worth looking for.

7/10

61 Days of Halloween: All the Colors of the Dark

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 so I will try and suggest something worth while as well.

All the Colors of the Dark

All the Colors of the Dark (Shriek Show)

This is the kind of film that proves an axiom that is even more true of the giallo subgenre than it is of the horror as a whole. While some may disagree on the percentage the premise is this: only 10% of horror films are good, honestly and truly good.

The giallo subgenre has many trappings which make this equation at times even harder. This film follows the basic rules: there is a female protagonist, a secret buried in the past that if unearthed may lead to the identity of the killer which is a mystery.

This one just fails to work in many instances. One reason is that the web of conspirators against our lead is far too large. While it is good that a seemingly innocuous plot point may have cleared things up you wonder why the caller was so arcane and why the lead wasn’t curious enough.

The set up does work well. There is even some disturbing dream imagery that throws you off the scent a bit too much. However, the whole film becomes far too concerned with blurring the line between dream and reality. It makes you wonder if Fellini ever secretly regretted opening 8 1/2 in a dream though he can’t be held accountable for this kind of hackneyed use of a dream beginning.

The cinematography at times gets quite clumsy even for the surrealistic effect that is sought.

While the involvement of a cult in this story is interesting it is typically a move that ends up being a trap. For every positive scene that is introduced due to this aspect there is another which is less desirable that can come in to play because its hard to swallow how any are in this particular cult.

This film not only has dreams but it would appear visions which eventually are so exploited that they lose all effectiveness.

5/10

Review- Glee: the 3D Concert Movie

Posted on by bernardovillela

Chris Colfer and Lea Michele in Glee: The 3D Concert Movie (20th Century Fox)

Perhaps the only real preface that this needs is that this concert film, perhaps more so than most, is really geared towards the fans of the show. I’m not sure how it would translate to someone who doesn’t watch it regularly. For the record, I didn’t see the first season and do not care for the term “Gleek” in general, therefore, I will not refer to myself as such despite watching the show.

So, basically, if you like the show you’ll likely enjoy this, if you don’t like the show you won’t care for this because this has a lot of the same pros and cons as the show does. What disappoints in a new and surprising way are some of the technical elements of the film.

The cinematography of the concert scenes is trite and facile and doesn’t engage you at all. A further problem is few and far between are the times where you get a true sense of depth which is an issue in a 3D film on an aesthetic level and on a value level since the poorly shot 3D is costing you extra money.

The editing within songs during the film and of the film as a whole is also a bit uninspired the pattern is quickly and easily decipherable and not very creative in the least.

What is not a given that takes this film a slight cut above things like the Miley Cyrus/Hannah Montana film and the Jonas Brothers are the interstitial segments where fans of the show discuss what it has meant to them and how the show has made a difference in their life. We learn a little of their story and also of the positive impact that the show is made. Aside from the focal stories there are random interview snippets and of course the four-year-old Warbler wannabe who is hilarious.

Another aspect that lends this film a bit of a dynamic element is that for the most part you see the actors offstage staying in character, which leads to some very humorous moments throughout. This fine line between documentary and narrative makes the film a little more interesting than it otherwise would be.

The songs that are chosen are great and are performed very well and due to the concert nature of the performance are not overproduced. You get to see Lea Michele, Chris Colfer and Amber Riley really sing without exorbitent amounts of affectation. It also showcases Mark Salling who is likely the most underrated of the show’s performers. The concert’s set list is a bit like the show, however, it’s at times a bit unbalanced and skewed towards a few performers but eventually everyone in the film does get their moment.

While it can’t even be called the best film of its subgenre this year it is as mentioned before better in terms of overall content than those in the past few years. It’s light enjoyable fare that will definitely please fans if not necessarily create new ones.

7/10

61 Days of Halloween- Introduction and A Blade in the Dark

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 so I will try and suggest something worth while as well.

A Blade in the Dark

A Blade in the Dark is a film by Lamberto Bava (Demons, son of Mario Bava) which fits in perfectly in the Giallo tradition of filmmaking. You have all the necessary components: an unknown killer, a series of unexplained deaths, a theme song anchoring the film and a twist as to who is the culprit. What is most clever is that Bava here makes his protagonist a musician working on a film score so the repetition of the theme is naturalistic most of the time and can’t get annoying.

You may notice a slight similarity to Four Flies on Grey Velvet but there is a decided difference here. In this film you also have a film-within-a-film which doesn’t take up a lot of screen time but plays a significant role. You see one of the pivotal scenes full-frame before the credits roll and only later realize it’s a film-within-a-film. This little vignette also features Giovanni Frezza who was the poster child of the genre in the 1980s appearing in the works of Fulci and the elder Bava as well.

Giovanni Frezza in A Blade in the Dark (Blue Underground)

The twist in this film is one you think you see coming but you truly don’t. The film does a great job of dividing your suspicions in this whodunit and thus misdirecting you completely. While there is one scene in particular, the first kill, that stands out as being awkwardly staged the rest of it is handled masterfully. There are some tooth-clenching sequences and great gore work.

8/10

Mini-Review Round-Up #4

Posted on by bernardovillela

This is something I’m going to do periodically. Basically, I will employ many means to qualify films for the BAM Awards be it either seeing the film theatrically acquiring a DVD either through purchase or on Netflix. This could lead to an influx of several new titles being seen in a short span of time which would be difficult to write full reviews for. At least this way the film gets some of its deserved attention and you get some notion of my thoughts on them.

If you have questions or comments feel free to respond. I always get back.

As always please refer to My Rating Scale for an indication of what the scores mean and if you’re curious where these films might make a dent in my personal awards please check my BAM Considerations.

The Inheritance

Rochelle Aytes in The Inheritance (Duly Noted)

A family reunion in the country quickly becomes something more insidious.

I use the word quickly above almost for the lack of a better word. There’s nothing quick about The Inheritance, it all takes far too long to unravel, too many things are played close to the vest and by the time secrets are spilled and the true intention starts to come out it’s too late to salvage it. The idea is interesting: it’s a generational tale going back to slavery and mixing in voodoo aspects, however, all the information finally flows in a barrage and then you get bad effects towards the end and truly anticlimactic escape. It all could’ve gone somewhere very interesting but never gets its momentum going.

3/10

Stake Land

Connor Paolo in Stake Land (IFC Films)

A post-apocalyptic world wherein vampires rule and it’s kill or be killed.

There is a lot going for this film from cinematography to score to a well-delivered, at times poetic, at times humorous narration by the lead Connor Paolo. Where Stake Land struggles some is in its pace. There are some potentially rather huge situations glossed over and a lot of time is dedicated to roaming the abandoned countryside. There is also a lot of great acting in this film. While it is recommended viewing it’s also nowhere near as good as it could’ve been.

7/10

Dream Home

Josie Ho in Dream Home (IFC Films)

A woman will do anything to get her dream home.

This is almost like two different movies entirely. I get how they connect but while I appreciate the bit of time traveling done by the narrative in the beginning, and the subtext at the end in the nice simple button, but I really just could not get into this one. The film goes out of its way to explain why this means so much to her and thus we identify but it all seems so superficial. It is rather suspenseful, the kills are great but it ends up feeling a bit vacuous. It almost would’ve been better if the film tried its hand at subtext more and didn’t get so cutesy with the whodunit. Instead, we eventually get all the pieces, put them in place and say “So what?” Sometimes I’d rather be confused and intrigued at times than lucid and unimpressed.

5/10

The Reef

Adrienne Pickering in The Reef (Image Entertainment)

It’s a shark attack movie.

Not to disparage it in the synopsis section but that’s what it is. It’s one in the Open Water mold and while the performances are good a very believable the film takes the concept of slow burn a bit too far such that it burns out. It becomes completely and totally uninteresting and after a while downright boring. There’s only so much of people treading water, or even swimming, that you can take before it becomes mind-numbing shark or no shark. The score does nothing to heighten the tension and there’s really no drama to the whole affair. I will grant that it’s more realistic than most of the goofy shark movies as of late and more interesting but it still doesn’t make it good.

4/10

Fright Flick

Allyn Carrell in Fright Flick (Breaking Glass Pictures)

The story is that of a series of murders on a film set.

One of the first problem this film runs into is that it’s about a cheesy low budget horror movie. It starts with a film-within-a-film and you’re thinking “Wow, is it going to be this terrible throughout?” The good news is no it’s not; the bad news is it doesn’t get much better. The gore effects are really strong, when the chips are down some of the performances are decent but the characters are pathetic and so are some of the performances at times, only some are consistently annoying throughout. A lot of the inconsistency stems from the direction just upload it on instant and watch the in-credits scene and you’ll see the confusion that plagues this film. The standout performances are those of Chad Allen and Allyn Carrell.

3/10

Mini-Review Round-Up #3

Posted on by bernardovillela

This is something I’m going to do periodically. Basically, I will employ many means to qualify films for the BAM Awards be it either seeing the film theatrically acquiring a DVD either through purchase or on Netflix. This could lead to an influx of several new titles being seen in a short span of time which would be difficult to write full reviews for. At least this way the film gets some of its deserved attention and you get some notion of my thoughts on them.

If you have questions or comments feel free to respond. I always get back.

As always please refer to My Rating Scale for an indication of what the scores mean and if you’re curious where these films might make a dent in my personal awards please check my BAM Considerations.

The Ward

John Carpenter’s latest film goes inside a pysch ward and tries to unravel why its newest inmate is there.

There are portions of this film which are tremendously effective and as a whole I think this is a very good film. The tension builds and is maintained throughout mostly thanks to the very good cast that is assembled in this film. This is so rare in a horror film that it truly is a sight to behold. The film also incorporates a twist which is not wholly inorganic and does elevate the film and answers a few of the elusive questions it had posed throughout.

8/10

Heartbeats

Heartbeats (2010, IFC Films)

Director Xavier Dolan’s sophomore effort about a love triangle where a young man is the prize for a gay man and his girlfriend is a rumination on unrequited love and love in general.

I can see why this didn’t get the fanfare that his first film, J’ai tué ma mère (I Killed My Mother), did but in it Dolan proves himself to be a flat-out artist. He not only acts in it but directs it with a steady hand. The only things that hold it back is a conceptual/intellectual disconnect with how the material is rendered but there is an absolute certainty to how he does things. The cinematography is brilliant and vibrant throughout; the framing precise, the edit is good. The use of slow-motion is at times inspired and his affinity to source music rivals Tarantino. It’s not the greatest script but it is perhaps the best treatment that script could’ve gotten.

7/10

The Suite Life Movie

The Suite Life Movie (2011, Disney Channel)

A funny and silly sci-fi tale wherein twin brothers face off against a mad scientist.

I believe in judging everything on what it is and what its goals are. Therefore, a DCOM (Disney Channel Original Movie for the uninitiated) cannot be judged against Citizen Kane. Each are doing very disparate things. Another caveat for those who will point out that this is a TV movie I’ve allowed them to be eligible before both for the good and the bad in my awards (Note: Only winners are linked to) therefore I should try and see a few each year or bar them and essentially the aesthetics are the same, the commercial break on streaming merely turns into a fade to black and then fade in.

Having said all that this film really works for what it’s trying to do and I was surprised that I enjoyed it quite a bit. Both Cole and Dylan Sprouse, who are no strangers to film acting, have far more naturalistic interpretations of their characters in this film than they do in a typical episode of the show. The film also manages to be rather self-contained and doesn’t require one to be overly-familiar with the show to enjoy and appreciate what’s going on. The mad scientist involvement is one not seen much these days but can definitely still be employed to great affect.

It’s funny, silly and even gets emotional with a point to be made. I’m not saying it’ll be in the year end fray but I was pleasantly surprised by it as it is one of the most enjoyable DCOMs I’ve seen in some time.

10/10

Sharpay’s Fabulous Adventure

Spinning off from the High School Musical series, Sharpay movies to New York to try and make it on Broadway.

As opposed to the DCOM above this one for the most part misses the mark entirely. The High School Musical craze has come and gone and this is a perfect example of going to the the well one time too many. Sharpay, of course, starts this adventure off as cartoonishly spoiled and through the course of it will transform into a person who does things for herself and is a real person and has real emotions. It’s just one of a list of things in this film that’s asking a bit too much to be believed. The shame of it is that Tisdale is charismatic when just playing someone closer to herself but she’s rarely allowed to do that. The outlandish, ridiculous and wrong also overshadow a humorous and engaging turn by Bradley Steven Perry better known from his role on Good Luck Charlie.

There are things to like about the film but there are many more that will annoy you to no end. Hopefully, this is the swan song for the franchise because it really is running on fumes now.

4/10

13 Assassins

A group of assassins join forces to kill an evil lord in 19th century Japan.

There is a lot that is technically impressive about 13 Assassins. The cinematography is very impressive, some of the acting is very strong a lot of the make-up work is good. Other things just fall terribly flat. There are a lot of characters introduced at the start such that the film even includes titles to tell you who they are and the overall plotting is slow to unfurl. It leaves you wanting and begging for the “heist scene” so you know what the endgame is. Then the battle just goes on practically forever, such that after a while I really was no longer interested in the outcome only that the movie would in fact, as rumors had it, end.

5/10

Sex & Drugs & Rock & Roll

This is actually one of the first films I saw this year and after a little research I decided that I would include it for consideration in the 2011 BAM race.

Sex & Drugs & Rock & Roll is the story of punk rock icon Ian Drury over a long and tumultuous career.

This is a very unique and creative film and there are a lot of interesting narrative and directorial choices made throughout the course of it. Upon these decisions your opinion will hinge and they are totally open to interpretation some work, some don’t and some work with mixed results but at the very least there are chances taken in this film. What stands out most in the film are the performances of Andy Serkis and Bill Milner. Both are faced with enormous challenges in this film as actors and both succeed. Serkis has a massive arc to play and many different notes and Milner has to play his character from a youth and ages with him over many years quite impressively.

Aside from that it will introduce you, if you are unfamiliar with it as I was, to a lot of good music throughout.

7/10

Review- Final Destination 5

Posted on by bernardovillela

Jacqueline MacInnes Wood and Nicholas D'Agosto in Final Destination 5 (Warner Bros./New Line)

Were I to be completely and totally hateful I’d start this review with something like: “Final Destination 5, how do I hate thee? Let me count the ways” and I would do so without any sort of qualifications. Instead I will qualify this review by stating the following:

I have gone to see each and every Final Destination film willingly and while two of them have been atrociously bad at the very least they had me come coming back. I absolutely love the first installment of the series without any reservation and I still think there are possibilities in the concept which keeps bringing me back but this…this is a train wreck and not the kind where you wanna stick around and watch either. It’s just nightmarishly bad almost from the word go. So what makes this one so much worse than the others? Now, I can say with far much less crassness than I would’ve otherwise, let me count the ways:

Firstly, I think all the sequels have struggled in terms of casting, there aren’t that many Devon Sawas around these day to plop into these kinds of films, however, I cannot recall the last time I was this appalled and offended by the ineptitude of the cast of a film. I will not name the names but you have the internet use the IMDb. The most prominent characters in the film are portrayed by those with the least chops or the least faith in the material. If you look at those top three there is at least one who has proven in the past she can act so part of it falls on the direction also.

However, your two leading males are made even worse by comparison when Tony Todd waltzes in for a few scenes and just blows everyone out of the water.

Now, there’s also the writing to blame. This is best evidenced by Agent Block, which I believe was likely shortened from Agent Blockhead in earlier drafts because rarely if ever have I seen a character this stupid, much less one that’s supposed to be in law enforcement. The last character I saw that was this dumb was in Satan’s Little Helper and he was a kid not a cop. Courtney B. Vance is a good actor but he cannot salvage dialogue so bad that anyone with half-a-brain who ever saw a police procedural show can punch holes in.

While one piece of the formula which was the persistence of visions (Oh, film jokes) is gone here (as there’s only one) and I’m fine with that but it’s as if they had to fill it with something and what they did fill it with is even more annoying because the paranoia they feel knowing death has a plan goes outward and it turns the movie into something it’s really not. You also have in this film fewer false alarms, near misses and chain reactions therefore while the kills might be more spectacular in execution they have less suspense leading up to them and you have here the flattest, least likable characters to date so all you’re left with is hoping for deaths that you know will happen.

It’s true I feel 80s slashers skewed the equation of the horror film where in certain cases you wanted death but even they knew better than to always kill everyone. Almost invariably there was a character you couldn’t stand that wouldn’t get it. Here it seems as if the effort has become less and less in terms of building characters that you’re at least interested in watching dodge death’s attempts.

What could possibly make bad acting, bad casting, bad writing, bad directing any worse? Oh, yeah there’s a twist too not only that but it changes the nature of this film and I really wish it hadn’t it’s as if what preceded the end of this film wasn’t bad enough it needed a little coup de grace.

All in all I can’t say I’ll give up on the franchise because there is something inherently scary about having escaped fate and then always looking over your shoulder and it takes a lot to squander that (and they did). So it’s a new low in the series that will hopefully take the next one (which there may or may not be) back to its roots.

1/10