Bernardo Villela is like a mallrat except at the movies. He is a writer, director, editor and film enthusiast who seeks to continue to explore and learn about cinema, chronicle the journey and share his findings.
Ryan Reynolds and Denzel Washington in Safe House (Universal)
Safe House is a film that in many ways is your standard spy-caper. I will give it credit by saying that it does try to do some different things to slightly alter the equation, however, it is ultimately the bits that are the same old song and dance that really get in this film’s way and trip it up.
To start out with the more positive notes, the film is very watchable and there’s a decent amount of tension due to the kinetic editing style. The beginning of the film is quite creative in as much as the cuts come quickly, but also break chronology such that you are investing in a situation, and getting information later. Eventually, the lackluster nature of the information betrays this artistry to an extent but this facet of the film did its utmost to elevate the piece as a whole.
The editing style was in part a necessity. The cinematography didn’t feature the worst abuses of hand-held camerawork I’ve seen, but the camera is hyperactive in this piece and it can be a turn off to those prone to motion sickness or are aesthetically averse to such things. For the most part it works, but there are points within it where I wish it would relax and the quick edits really salvaged many shots making them more watchable than they otherwise should’ve been.
The script develops a decent story in most respects. The setup and ultimate plot of the antagonist are intriguing enough. The problems come into the storytelling when elements that are overly-trite or too frequently done are brought into the mix in terms of dialogue and certain character’s attitudes. As with any tale of this nature suspension is of disbelief is necessary because there will be moments of absurdity. There are good elements to the scripting but definite issues that overshadow the positives to an extent.
The performances to an extent are also a mixed bag. In the positive column are Denzel Washington and Ryan Reynolds. Washington has thankfully taken to some quieter, more intelligent and less bombastic parts recently as opposed to things like Training Day, where I don’t find him nearly as interesting. He plays this character intelligently, but also gets to layer him. Reynolds has played action before but he also plays in a romance plot here and in very dramatic confrontations with many characters in this film and does equally well in all of them. It’s likely a performance of his that will be overlooked, though it should not be.
As for the problematic performances: One, sadly, is Brendan Gleeson’s, it’s not him in his top form. I’m unsure as to whether the character was supposed to have a slightly faded Irish brogue or if his American dialect was just off in this part, but it influenced the end result regardless. Another is Vera Farmiga and some of the issue is her character. There’s nothing to her. She’s a plot device. She believes what will likely be the official version of the story is really what’s happening, other than that there’s no characterization to her. I’ve liked Farmiga in some works quite a bit and been a bit too hard on other times, so I think when she’s stuck with a character of this ilk she really has a tough go of it.
Lastly, there are some surprising and pleasant twists but one of the biggest ones occurs in the third act and it’s terribly transparent from the start of the scene based on the entire execution, and the scene is far too long and it really detracts from what should be a pivotal moment.
Truth be told, I wasn’t planning on seeing Safe House, I saw it to have a dine-in movie experience. However, I will say that while I didn’t like it it was better than I thought it would be so you may see it differently than I did.
First, while I think that this “trifurcated” method of presenting winners is the way to go the nomenclature is something that may change. I considered “Above the Line” and “Below the Line” but that’s far too industry a term and furthermore it skews the breakdown of awards presented per post. Having said all that not all the categories in this post are crew per se, maybe behind the scenes is better but I’ll think over in the year to come. In any case here are the awards for non-actors.
I will grant you that I read more about Scorsese’s process for Hugo than the other directors thanks to the film companion book written by the author of the novel. However, I also knew the book and got a sense when reading it that it might be a stronger piece cinematically than it was in text. After all it is an illustrated novel. It’s a novel wherein Selznick omitted words when he felt illustrating portions would be better. It’s also a case of knowing and understanding a vision and seeing a vision are two different things. This film was on the radar earlier for me than for most. All I learned about it heightened my anticipation, yet I never expected box-office results (which it sadly hasn’t really seen) or critical acclaim (which its gotten in spades) and the last thing I expected was for my lofty expectations to be far exceeded. I could ramble about why I love Scorsese’s process for making this film but anyone who knows anything about him knows his passion and knowledge and how he tries, when applicable, to imbue that to those he works with. All these directors had a great vision for their films, all succeeded to ridiculous heights. Scorsese just does so in a whole other stratosphere and on many, many levels and in different ways than in films past.
Best Cinematography
Asa Butterfield and Chloë Grace Moretz in Hugo (Paramount)
This category is usually, and especially this year, just flat-out unfair. Minus the being undead part I feel like little Gage Creed in Pet Sematary shouting my protestations, “No fair! No fair!” Each one of these films is beautiful to look at and exemplifies flawless technique but also motifs that I am enamored of. Larry Fong takes Abrams’ penchant for lens flare and places it in as naturalistic a context as possible, Serra who works best when moving the camera frequently scarcely stops in this last chapter of an epic series, Weber-Biron’s work in Heartbeats is a staggering display of composition and luscious saturation, Kaminski, ever the chameleon like his frequent director Spielberg, brings landscapes not only to life but emblazons them with surreal beauty; and those are the runners up. Like Gage said “No fair!”
Here’s the best case for why 3D can work and why Hugo is enhanced by it. Aside from the technical aspect where every single shot of the film was shot in 3D, whereas even “real” 3D films have some post-conversion element. Shots were composed, framed, lit and even cut together with that effect in mind. And it’s not a shock and awe effect they seek but an invitation, an envelopment.
I frequently mention (whenever it’s the case) how I didn’t want a movie to end. I have never in my adult life felt like I was in the film. I had that feeling at times watching Hugo. It’s a 3D about creating a space and the feeling of room and a real view on an imagined world rather than explosions and chases. It’s about inviting the viewer closer to an intimate tale, involving the audience more than before and the main component to that is the photography.
Best Makeup
Tyler Labine & Alan Tudyk in Tucker & Dale vs. Evil (Magnet Releasing)
Harry Potter and the Deathly Hallows, Part 2
Super 8 Tucker & Dale vs. Evil
Rammbock
Winter in Wartime
This one is always tough. Substandard makeup work is always easier to spot. Natural makeup work is easy to take for granted and effects makeup is easy to over-value. More axioms are possible but that’s the bottom line so typically what I seek is something unique in the mix with standard work, which is the case for most of these nominees. The most versatile though is the cross-section in Tucker & Dale vs. Evil you have college kids (standard) the backwoods characters unfairly looked-down-upon (a bit more unkempt) then your effects (blood & gore) all done brilliantly.
Best Original Screenplay
JJ Abrams on the set of Super 8 (LA Times)
J.J. Abrams Super 8
Michel Hazanvicius The Artist
Benjamin Hessler Rammbock
Stevan Mena Bereavement
Paolo Virzì and Francesco Bruni and Francesco Piccolo The First Beautiful Thing
“Bad things happen, but you can still live.”
That’s the line that sends Super 8 above and beyond the other worthy candidates. One sentence comprised of eight words gives two characters (one not of this world, one a boy forced to grow up too fast) the strength to move on. There are other examples in this film where sparse, terse statements say so much: “I am in him as he is in me…” and so on.
Not to go overlooked without additional praise are the other writers here: Michel Hanzavicius not only wrote a great script for a mostly silent film but also used sound and dialogue on a few occasions in such a brilliant way emphasizing how important they are by not wasting them on trivialities. Benjamin Hessler in an hour of screen time accomplishes so much it’s awe-inspiring. Watch Rammbock. The First Beautiful Thing builds character and manipulates time magnificently. Bereavement is the best horror film I’ve seen in a decade concept and script are the cornerstone to that.
Best Adapted Screenplay
Martin Scorsese shows and illustration from the book to Asa Butterfield and Chloe Grace Moretz (Paramount)
Marti Noxon and Tom Holland Fright Night
Steve Kloves and JK Rowling Harry Potter and the Deathly Hallows, Part 2 John Logan and Brian Selznick Hugo
Lee Hall and Nigel Slater Toast
Mieke de Jong, Martin Koolhoven, Paul Jan Nelissen and Jan Terlouw Winter in Wartime
Similar to the other screenwriting category a lot of praise to go around here: Fright Night had some of the smartest, funniest dialogue of the year. Lee Hall’s sensitivty and talents know no bounds. Winter in Wartime is a grossly overlooked and underrated film that will please fans of many genres. Lastly, I don’t think I’ve ever not nominated Steven Kloves for a Harry Potter film but that does not diminish his contribution to the series or these nominations. Changing directors was something the series could survive but not screenwriter. Had he not been a mainstay it would’ve been very different.
As for the winner as many have noted, and I picked up on a few of these as well, there are marked differences between Hugo as a book and a movie that go well beyond just the title. All of these changes enhance the film. They make the story work better on film. They were made with the medium in which they were telling the story in mind and they worked brilliantly.
Best Editing
The Tree of Life (Fox Searchlight)
Job ter Berg Winter in Wartime
Mary Ann Brandon and Mary Jo Markey Super 8
Mark Day Harry Potter and the Deathly Hallows, Part 2
Thelma Schoonmaker Hugo Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber and Mark Yoshikawa The Tree of Life
It is often said that all films are made three times. The first is the script, the second is principal photography and the third is in the editing room. Never has a film being made in the edit been more clear than in The Tree of Life. I’d love to see the original script and the supposed 4-hour cut but everything you think of this film whether you love it as I do or you hate it comes down to the editing. Even the cinematography which would be brilliant regardless is better because of the way the images splice together. Perfect frame to perfect frame, disconnected thought to disconnected thought. It like every film is a puzzle. In this one you can place the pieces together how you please and tell people what you see. Not the other way around.
Best Score
Stevan Mena Bereavement
Alexandre Desplat Harry Potter and the Deathly Hallows, Part 2
Howard Shore Hugo Michael Giacchino Super 8
Jónsi We Bought a Zoo
With these categories not much needs saying. These scores are all great. This clip and the way it plays with the ending are what clinches it for Super 8.
Best Sound Editing/Mixing
Harry Potter and the Deathly Hallows, Part 2
Hugo Super 8
Real Steel X-Men: First Class
I rarely get actively excited about sound design though it does interest me. I took a sound class and did a lot of very hard work in it and learned a hell of a lot but the bottom line as this sequence and the film progresses the fades, levels, cuts and creation of these sounds, whether it be a compartment door slamming into the ground, an explosion or Cooper’s (the alien) roar it all fascinated and inspired me and made me pay attention, immediately on first viewing.
The real litmus test for special effects is not thinking “Oh, those effects are really good” but rather not thinking about them at all then realize what they were, now that’s impressive. Even more impressive when you learn about what was done to create them. The video above is a quick illustration of what went into Real Steel. The only film wherein I didn’t think about effects until after I’d seen it.
Best Art Direction
Asa Butterfield and Ben Kingsley in Hugo (Paramount)
Anonymous
Detective Dee and the Mystery of the Phantom Flame Hugo
Winter in Wartime
X-Men: First Class
Art Direction frequently goes hand in hand with cinematography in Hugo more so than most. In a situation where you’re bringing an audience into a world attention to detail is of paramount importance the sets and their dressings become like a character.
Best Costumes
Sacha Baron Cohen, Chloë Grace Moretz and Asa Butterfield in Hugo (Paramount)
Drive Hugo
Super 8
Terri
Toast
I don’t care for the period bias that exists in costuming therefore I make sure to pay extra attention in modern/present day films to see if something catches my eye and a few nominees reflect that. What works best in Hugo has nothing to do with the fact that there’s an attempt to capture a time or a place but rather to create looks emblematic of character as frequently the actor has but one look through a majority of the movie. For the Station Master there was created a uniform as idiosyncratic as he is, for Hugo an outfit that at one time might’ve been his best but is now tattered and ratty and his only one similarly for Isabelle she is better dressed but always recognizable and so on. Adding to the 3D element all the decisions made here and in Art Direction also take texture into consideration: tweeds, wool and other fabrics with character are chosen.
Best Song
Justin Bieber in Justin Bieber: Never Say Never (Paramount)
“Chatte Batte” Chillar Party
“Exploded Diaper” Löded Diper Diary of a Wimpy Kid: Rodrick Rules
“I Want Candy” Cody Simpson Hop “Born to be Somebody” Justin Bieber Justin Bieber: Never Say Never
“Pictures in My Head” The Muppets
“Let Me Take You to Rio (Blu’s Arrival)” Ester Dean & Carlinhos Brown Rio
If you look at past winners in this category you’ll see diversity. Here there is too: Chatte Batte is a sung in voice-over theme song from a Bollywood kids’ comedy. I have a weakness for Bollywood due to a college course so I really should see more. One of the BAM Awards past quirks was that a Bollywood film Lagaan was up for Best Picture and nothing else.
Second, is essentially a rock song but it’s also a jokey kind of song which is one of the highlights of Diary of a Wimpy Kid: Rodrick Rules. Jokey and Rock combos also have precedent amongst past winners.
Hop isn’t all that great but it features a pretty good cover of “I Want Candy” and that song lifts the film some when used. Covers also have precedent hence I usually remove the Original from the category name.
The Muppets could’ve easily had a few nominees and I didn’t expect that when the process started and now is as good a time as any to say “Yes, I do surprise myself sometimes and I’m not 100% sure of every single nominee before I start.” With The Muppets it was a case of the first impression not being as strong but the songs stuck after a while.
So why Justin Bieber‘s song? As a recent Twitter conversation made me realize songs in films in general are less thought about and less integral than they ever have been. Another issue is how does one judge the pedigree of the “Original” song or song in this case. Now whether or not the song was really written for the film is a dicey and difficult thing to prove, which is why I ceased to care about that so much. Therefore it’s really about a song debuting in the film or a well done cover.
If one looks at past Original Song Oscar winners you can see they used to be far more iconic and in the middle of the picture than recently; a past example being “Let the River Run” by Carly Simon in Working Girl. Aside from seeing more movies, which after a record-setting year would be hard to do, there’s little I can do to affect the field. Songs don’t play as much of a role so how good a song is a huge criteria. I like all these songs. That’s simple.
The bigger criteria is the influence they have on the overall film. That is clear to see in Muppets where it sets the nostalgic, quasi-melancholy tone before the reunion and in Rio where it’s a joyous celebration of locale. That puts those above songs from Hop and Diary of a Wimpy Kid because those songs merely accompany incidents and don’t shed light on any of the story.
However, as I wrote in my initial review of Never Say Never the story of the documentary is not only Bieber’s but also that of his fanbase who more so than with any other artist propelled him from anonymity to viral sensation to global superstar faster than had ever before been seen. The lyrics of the song by Diane Warren are ostensibly about him but could apply to anyone. Also, while this song plays over the credits it’s accompanied by footage which brings the story full circle and thus music matches the imagery and enhances the end of the film, which depending on execution can be its most important moment. So whether it was “slapped on” in actuality or not it doesn’t feel like it is and is a coda to the film that matches the emotion of the piece so well. You can dismiss it as excuse to get another single for him on iTunes and to tie into the movie but it works aesthetically in my estimation so that’s what matters since marketing is a fact of life. Aesthetics and marketing are more closely tied in film than in any other artform.
Also, the fact that “Never Say Never” spawned a movie and in that movie would be another worthy original song is pretty surreal if you think about it. In a way that fact reflects the film and the story in general.
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.
Halloween II (1981)
Halloween II (Univeral Pictures)
What is interesting to note about the second Halloween film is that much like the Friday the 13th series it rewinds and replays the end of the previous film. This film does so to great affect because it doesn’t go back too far or splice it up it only backtracks the necessary amount to be able to continue the story in exact chronological order. So in the world of this film it is still October 31, 1978 and the film does a tremendous job in creating a very believable continuity in all aspects.
Much like the first film, and many horror films, there is an homage on a TV and you see clips from Night of the Living Dead.
Part of what makes this film interesting is that it starts with the media not yet having released that it is Michael Myers. So his legend is not yet re-popularized, which does mean you need to make a leap of faith when you see that someone is walking about dressed like him. The first seems to indicate the jumpsuit is acquired from a trucker. This potential hole aside the scene is still tremendously effective because later you do see the medical examination of the charred corpse and also because it ends up being Bennett Tramer, Lori’s crush who is merely mentioned in the first film.
This is also the first real taste you get of the vilification of Dr. Loomis. The police show a lot of, if not infallible, patience in the first film. Here Myers affects them personally and they lash out at Loomis.
The flow of news that’s being disseminated is very well handled from news stand ups to snippets overheard from a boom box. It reflects the widening of Myers’s scope. While this widening is well handled it’s part of what makes this film not quite the first. While it is very chilling throughout there was a certain sense of claustrophobia that was created by focusing on two babysitting assignments on either side of a street in the first film that is better and absent here.
The cinematography in this film is perhaps even better than the first. An advantage of the changed scope is that Dean Cundey is given a wider variety of canvases upon which to paint.
What propels the series in this edition is the twist it provides. It provides Michael both in the original and in this installment with motivation that goes beyond just simple revenge. It is also different as it provides a twist to the nature or identity of the victim as opposed to the villain.
There is more, however, which makes this a truly special film not only in horror but in the realm of sequels. This film also has an iconic moment, more a concept really, and that is finding the word “samhain” written in blood on an elementary school chalkboard.
What is perhaps best about the character of Lori Strode is that she always seems to very genuinely connect with the audience, which is not merely a function of her being played by Jamie Lee Curtis. It is also due in part to the fact that she very often reflects the audience’s thoughts: “He is the Boogeyman,” or in this film “Why won’t he die?” and because it’s Jamie Lee Curtis it sounds like a genuine question and not a punchline from an Austin Powers film.
Lori is also able to distract Michael long enough to get him offguard by showing she knows who he is. In what could’ve been a move that took it over the top Michael is shot in the head and blood runs out of his mask’s eye holes and represent the tears he cannot shed. It does work, however, because his action belies that seeming representation of emotion. However, he was stopped when he saw he was recognized.
This film also makes Loomis, despite all the failings he’s had whether they were his fault or not, its hero as he manages to stop Michael (or so it seems) even in the final confrontation there is a great image and moment to be had.
While it doesn’t quite live up to its predecessor it does do right by the story, concept and its characters.
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 Evil Dead
Ellen Sandweiss in The Evil Dead (New line Cinema)
If there was ever a horror film in the gore sub-genre that goes for the throat and just won’t quit it is unquestionably The Evil Dead. This is a film with such pulverizing scenes of blood-letting and death that there’s no time to be concerned with much else it just draws you in and you become absolutely enthralled.
At the beginning we see just enough of these characters to differentiate amongst them. They are sketched out just enough such that we don’t hate them and so that their deaths aren’t a relief but sometimes it does come as a pleasant shock.
The use of the subjective camera to represent the spirits make this film and absolutely does wonders to add to the atmosphere. The relentless speed and the bowling over of trees on the part of these spirits who never really manifested themselves in their true form make the film what it is.
Of course, one cannot talk about the cinematography without discussing the score of this film for without it these would have just been cute camera moves. Instead the spirits had their own theme song: a tenebrous, loud yet low-pitched thump that struck fear into my heart every time I heard it.
Another way The Evil Dead is interesting is that it takes some precepts of film and the horror genre in general and uses them masterfully. First, is the Book of the Dead, which may also be known as the Necronomicon, the filmmakers implemented it to unleash unknown powers on these characters and it was done tremendously well.
The Book of the Dead is undoubtedly a piece of work that has been sparingly used but here it is a perfect fit and shows these people have at least working knowledge of the works of Lovecraft. In Lovecraft’s fiction man’s desire to know what they had absolutely no hope of understanding always leads to his downfall a similar parallel can be drawn to this film.
Secondly, this film masters the use of the subjective camera as the villain which was initiated with It’s Alive! and made famous by Jaws, after The Evil Dead it would be foolishness for someone to try and rely so heavily on it because it just wouldn’t work as well.
Third, there is the great use of possession in this film which is no doubt inspired by The Exorcist and comes close to reproducing an equally effective result along that line. Some audiences may look back on this film which is now 30 years old and think it looks dated but they can’t argue with the fact that it works. I happen to think that the special effects are great especially for when they are made. Claymation or Stop-Motion Animation are great techniques and truly lost arts. Granted it is very difficult to film but the results are great especially with The Evil Dead because the clay and whatever other materials they chose to throw in there just added the extra grotesque touch the film needs. I think it is just wonderful!
There is a great debate between people who are proponents of Night of the Living Dead and The Evil Dead. I think all the arguing is futile. Both of these films are their own unique kind of beast and they’re both beautiful in their own way. Enjoy both these films for what they are and the debate should end and everyone busting a vein trying to win the argument should just shut up.
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.
Mother’s Day
Rose Ross in Mother's Day (Troma)
Mother’s Day is a film with many problems. Firstly, it tries to introduce its three protagonists in two different time periods. First, you meet the characters very briefly in college and then separately ten years later.
A lot of screen time in this film is wasted. For example these friends waste a lot of time goofing and being drunk when they reunite and there is also an unnecessary very extensive prank scene from their college days which halts whatever forward momentum the film had built up.
Furthermore this comes after we are introduced to our villains and their M.O. so we are just sitting about waiting for them to strike anew so it becomes doubly painful.
As if you didn’t know going in that you’d get a lot of overacting in this film it goes beyond even what is expected. There’s also terrible example of the 80s work montage, bad scoring and introduced-to-the-mix-real-late ghost character, ghost in the literary sense not supernatural.
As if that wasn’t enough there is a grainy, poorly-focused twist-ending shot that adds insult to injury. Skip this one.
1/10
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.
Hatchet for the Honeymoon
***Spoilers herein***
Stephen Forsyth in Hatchet for the Honeymoon (Reel Media International)
The customer reviews of Hatchet for the Honeymoon on Netflix were wildly varied such that it dissuaded me from seeing it for a while. The difficulty being that I don’t have much of a track record with Mario Bava aside from the breathtaking Black Sunday so it was hard to decide (True at the time now I’ve seen many of his films). It’s not like there’s an established relationship like with Dario Argento I know I will watch them all even if I have to grin and bear it through some.
Having said all that I will give this film a pass but if you haven’t seen Bava it is definitely not the title you should start off with. What is interesting about it is that it deals with a mutating madness. In fact, the film starts with our protagonist announcing via voice over narration that he is mad. We soon learn his modus operandi but we also eventually see that he is being compelled that with each murder he is unearthing part of a repressed memory of what happened to his mother.
Now what happened to her ends up being not so mysterious which is why there’s a twist in store after he kills his wife which makes this film interesting and watchable even through some of the somewhat messy cinematography and subpar sound work. Someone in this man’s life still has a hold over him.
Hatchet for the Honeymoon is by no means terrific but it is worth a gander if you are so inclined. It definitely makes up for some of its deficiencies with a deliriously myopic view of a madman where murder and mayhem are commonplace.
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.
Genesis
Genesis (Waken Productions)
If the aforementioned Aftermath is not your cup of tea you needn’t worry because you can still stream the prodigious talent of Nacho Cerda by watching Genesis. Immediately you are shown a list of awards this film has one so you are clued in that this is a different sort of ride.
While managing to be agonizingly beautiful this film will forever redefine the lyric by Elton John “If I was a sculptor…but then again, no” as a weird symbiosis between sculptor and statue is formed.
This is a film that redefines the living statue but also excels in filmmaking prowess. The original score and cinematography work in perfect harmony to heighten the drama of the tale. Here again the effects are great as we see a metamorphosis slowly building.
Through creatively lit and cut together dream sequences the subject of the statue is given meaning as this tale isn’t whimsical as many which feature the motif and adds additional information to the transformation scenes. These scenes end with a wonderful POV shot.
Again Cerda puts his protagonist alone and in solitary work so he need not speak. Here again Cerda creates sort of a gruesome fascination in what is going on in the film, in this film especially I was reminded of my first viewing of Hellraiser. Yes, I did just liken Cerda to Clive Barker that is the height of effectiveness that these short films reach.
While there may be a shot or two extra at the end that could’ve been judiciously trimmed or lost this is still a brilliant piece of work and one that can be appreciated by a much wider audience than Aftermath.
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.
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.
Daniel Radcliffe, Emma Watson and Rupert Grint in Harry Potter and the Deathly Hallows, Part 2 (Warner Bros.)
It’s not easy to see a series you love come to a close. It becomes more difficult when you happen to be traveling when that final chapter receives its worldwide release. The difficulties I encountered trying to obtain tickets to a Harry Potter screening in Brazil may make an apropos footnote in another post but here they serve the purpose of stating that: it was hard to say goodbye and therefore it seemed almost fitting that it was difficult for me to make it to my first screening of the film.
While I stand by what I wrote in my series of articles entitled Keys to a Better Life as a Fanboy, hindsight has been beneficial in my viewing of the Harry Potter series; some have aged better than others but I believe, more so with this series than others, that the whole is truly greater than the sum the parts. Only now having seen it all can I truly see the enormity of the series. Whereas in each individual installment there was nitpicking to be done, or ignored, and the franchise became the Susan Lucci of my personal awards, The BAMs, now that it’s at its conclusion I can say it’s the greatest film franchise I’ve beheld.
Now what of this installment, you ask?
Daniel Radcliffe and Emma Watson in Harry Potter and the Deathly Hallows, Part 1 (Warner Bros.)
Firstly, the issue of cinematic bifurcation needs to be addressed. When Harry Potter announced they split the seventh book of the series into two films it became the thing to do. Twilight followed suit and it seems The Hunger Games will likely do the same and perhaps some others that I’m forgetting. Now I’m not naive enough to believe that the main motivation to do such a thing isn’t financial, however, there exists in this decision artistic possibilities and responsibilities: the possibilities being to cinematically craft as much of the adapted work as possible and the responsibility to make it vital. I also want to clarify that while there might not be the Shakespearean foresight to make a multi-part work such as Henry IV or Henry VI it also was not a decision made retroactively in the editing room so some jets need to be cooled regarding the split-finale phenomenon.
Michael Gambon and Daniel Radcliffe in Harry Potter and the Half-Blood Prince (Warner Bros.)
All series of films have their own inherent logic and language and thus they develop their own shorthand and therefore the bifurcation becomes much less of an issue. This, of course, does not mean that you could walk in cold to Deathly Hallows, Part 2 and get absolutely everything (an example would be how quick and dirty the Polyjuice potion usage is in this film) but conversely I don’t want to be able to walk into the end of a series cold and be able to watch it without wondering what’s happening at some point because it usually means that at some point the integrity of the series has been compromised.
So yes, this film does stand tall on its own as a self-contained piece of art with the above caveats noted. As the trend progresses other films will have this as a barometer as how to handle this adaptation phenomena. My feeling is that works which have distinct tonal differences in the beginning and the end, as this does, (going from foreboding progressing to all out chaos) will be more successful in pulling off this trick.
What this film ultimately does is deliver the desired conclusion to this mammoth story in the desired fashion. The pace of the film can best be described as a slow but steady depression of an accelerator and a very slow release at the end, which for the narrative being conveyed is just about perfect. Mark Day, the editor who has been the unsung hero of the tail end of this franchise, does his best work in this film. He creates the best montage I’ve seen since Up and perhaps surpassed it.
Daniel Radcliffe in Harry Potter and the Order of the Phoenix (Warner Bros.)
Much like the pace of the film the tone is also established immediately. In a fashion not dissimilar to the recent X-Men film the film opens with a series of tense, brilliantly acted interrogatory scenes. The heroic triad is immediately gathering information and plotting their next move.
These scenes are also brilliantly and dramatically lit and also establishes the visual motif of camera movement which is not altogether foreign to Eduardo Serra and it just adds that much more tension and gravitas to all the proceedings.
I try and avoid departmental punchlists replete with commentary but the production and crafting of this film make it such that it’s nearly impossible to avoid. Alexandre Desplat has quickly catapulted to the A-List amongst film composers and his work in this film is absolutely sublime, it’s omnipresent but not overpowering and over-accentuating the film, it’s there for the taking if you want it and if you listen to it in isolation it’s amazing but in conjunction with the imagery sheer brilliance.
Emma Watson, Rupert Grint and Daniel Radcliffe in Harry Potter and the Goblet of Fire (Warner Bros.)
The Harry Potter films have also been through the years a bastion for lovers of ensemble acting, what’s most enjoyable about this film is that there are a number of paired scenes wherein the supporting players really get a chance to shine and have their moment and each one is more staggeringly great than the last. While I’d definitely contend that the Deathly Hallows, Part 1 was the showcase for Radcliffe, Watson and Grint, however, it should be noted that it is usually they who paired off with these supporting characters like John Hurt as Ollivander who here is pitch perfect and has more screentime than in the rest of the series combined. There’s also Ciarán Hinds who plays Aberforth. Warwick Davis, who does double duty as Griphook and Professor Flitwick, has a very tense scene as the former and is incredibly versatile. Then you also have among the supporting cast the incomparable Alan Rickman who over the course of eight films has steered his character unerringly along a very subtle and incredible arc.
Alan Rickman in Harry Potter and the Prisoner of Azkaban (Warner Bros.)
Perhaps what sticks with you most about the film though is the beautiful chaos of it all. The film does not bow down to the artifice of its artform and focus too singularly on any one tragic occurrence and just takes it all in as quick as one might in that moment. Some things just happen and you learn about it when characters do and you don’t know the how and the where just the result.
It almost goes without saying that the effects are outstanding and are the best and most blended of the series. As for the 3D I have not seen it as such but I do want to and have heard that for a conversion it’s a job well done for a detailed summation of that aspect I’d point you towards CinemaBlend who does a great series about the 3D or not 3D conundrum.
Daniel Radcliffe in Harry Potter and the Chamber of Secrets (Warner Bros.)
One of the barometers for the Harry Potter films, and for films in general, that I like to use is how is the ending handled. Now not that it’s a make or break but you do want the film’s last moment to leave a good, lasting impression. For example, I think that The Prisoner of Azkaban really dropped the ball with an ending that was tonally discordant when the darker chapters had just begun and a bit more restraint was needed. This film, however, ends perfectly and as I’d expected the epilogue was more effective on the big screen than it was in the book as it seemed to be created for the big screen.
It is my assessment that Harry Potter is the greatest franchise I’ve beheld and it is to my delight and relief that it has concluded with the greatest cinematic chapter it has yet told.
The Movie Rat 