Hi everyone. Thanks for stopping by.
My name's Craig and reside in the UK. I am a big fan of all kinds of movies and video-games, and occasionally write fiction when I get the time. I work as an administrative assistant 9-5, five days a week and enjoy it very much.
For more info, please read the 'About me' section on my blog.
Bye for now.
I went into this with expectations dialled down mostly because I don’t consider the 1989 adaptation of Stephen King’s novel all that great. However, a remake is a chance to improve upon a concept so there’s every reason to hope this one fairs better. A doctor (Jason Clarke) and his family move to a rural town and soon befriend the kind old man across the road (John Lithgow) who eventually introduced them to the Pet Cemetery in the woods, located on the family’s land. However following an unfortunate incident involving the pet cat and a lorry, the old neighbour suggests burying the animal beyond the pet cemetery. So of course, the cat comes back and sets in motion a spiral of increasingly macabre events.
The movie quickly resorts to cliches like ‘we should never have moved here’ way before that sort of thinking seems reasonable. Also, John Lithgow surprisingly fails to have the screen presence of the originals Fred Gwyn with delivery for such iconic lines as ‘the soil of a man’s heart…’ and ‘sometimes dead is better’ coming off rather half-arsed. However Jason Clarke is decent aided by a memorable turn from Jeta Laurence as his daughter. Flashbacks to the wife’s memories of twisted-spine sister ‘Zelda’ is also cranked up in the freakiness and jump-scares department and really, turns out to be the movie’s most disturbing aspect. Also changes to the final act help explain-away some of the more ludicrous developments of the original, but also come off as even sillier somehow.
So this remake wasn’t terrible and at times genuinely scary, but like the original … I can’t help but feel that the concept is overall flawed.
This came as a surprise. An interesting sounding thriller that has a married couple getting mugged in the wrong neighbourhood that leaves central protagonist ‘Gray’ paralysed and his wife dead. However a billionaire inventor later approaches Gray to offer him a breakthrough microchip that will not only cure him – but also upgrade him.
Set in a not-so-distant future with self driving cars, a.i assistants and drone robots, this tight and energetic movie was like a cross between Ghost in the Shell, RoboCop and Videodrome with heavy influence of body-horror auteur David Cronenberg. Director Leigh Whannell has put together a well narratively-clever genre flick that’s at times very violent and full of action. The relationship between Gray and a disembodied voice named ‘Stem’ coming from his microchip proves the most entertaining aspect and how this new power is used to aid him in an investigation into his wife’s killers is particularly compelling. Add to this some great fight scenes and even if at times the ‘walking like a robot’ aspect looks rather silly, I still found myself invested.
It may lack any recognisable names and it’s all done it seems on a tight budget … but Whannell achieves a lot with very little and that always goes down well with me. Recommended.
You’d think a movie based on a notorious true story and starring Kevin Costner and Woody Harrelson, would be a sure bet. However this thriller told from the perspective of two former Texas Rangers, pulled out of retirement to put a stop to Bonnie & Clyde was surprisingly ‘meh’.
Costner & Harrelson make for an good pairing however, and their banter and slightly bumbling approach to an off-the-books investigation proves the main enjoyment of the film. You see, despite an atmospheric setting and authentic sense of time and place, the movie really plods along, barely even showing the legendary bank robbers, especially ‘in the act’ and by focusing more on these has-been lawmen the movie fails to be as riveting as the subject might suggest. It’s also one of those very vague movies when it comes to various clues and important details leading to finally locating Bonnie & Clyde – which proves rather frustrating. In addition, the real-life fame and hysteria that surrounded the murderous criminals is only slightly touched upon.
There’s entertainment to be had here, but overall this was a missed opportunity. Another so-called Netflix original that underwhelms … I’m sensing a pattern.
Some people would have you believe that this isn’t another blockbuster entry in the ever popular Marvel Cinematic Universe and a precursor to the much anticipated Avengers: Endgame … but instead some overly political, misguided feminist propaganda effort. Thankfully i’m here to tell you, this isn’t that movie – unless you want it to be.
Brie Larson plays Veers, a gutsy soldier under the mentor-ship of Jude Law who along with a squad of Inter-galactic warriors are out to stop a race of warlords from tracking down a scientist on earth who may have invented a light speed transportation device. However once on earth, Veers finds herself plagued by memories of a past she doesn’t recognise.
Larson is likeable, tough, perfectly cast and I guess, makes for great female role model material (whilst not bashing you over the head with the fact). Add to this her teaming with a (incredibly) CGI-rejuvenated Samuel L Jackson for a fun buddy pairing; this has action, a twisting story line that kept me glued and a fun 90’s backdrop with many enjoyable in-jokes and references. The plot at its core is rather cliched I’ll admit and despite a few unexpected moments, nothing all that memorable, yet ties in well with other movies. A few moments here and there felt slightly rushed also. However, effects work is top notch as usual and although big action set-pieces are spread a little thin, the use of some great 90’s tunes from bands such as Nirvana, No Doubt and Garbage enhance several scenes, making for a fun experience from start to a particularly feel-good finish.
So leave all that political bullshit at the door and if you’re anything like me, you’ll have a great time. Roll on Endgame.
Following the mysterious deaths of a group of students, a rookie female reporter investigates links to an urban legend revolving around a cursed video tape. The movie that started it all. An international sensation that spawned several sequels as well as an American remake. So how does this 1998 original hold up? Well, what Japanese horror does well and this does equally well is that ‘unsettling stillness’. Dark Water, by same director Hideo Nakata, avoids clichéd jump scares or gore, favouring gradual menace this movie cemented and made a genre all its own. Add influences from traditional Japanese folklore, and traditional detective stories as well as Japanese ghost stories spawned what we now know as J-horror.
More an eerie drama than full-on scare-fest, this feels rather lightweight despite its reputation, even though that slow burning ticking clock plot device helps deliver a sense of dread that makes that famed, often satirised and copied ending all the more powerful. However, performances are largely only passable and often overly theatrical. Thankfully, Nakata’s direction is restrained but suitably creepy, helped by a great sense of unease if avoiding full on chills mostly., and that incredibly effective, freaky soundtrack does crank up the horror. Yet overall, this is rather dated today and the plot doesn’t make much sense, leaving many questions unanswered. A girl trapped in a well, a curse, deaths but er… how does that connect to videotapes? It seems to me like a convenient plot device. It’s also to me this was a clear influence on recent cult hit ‘It Follows’ amongst other movies.
The new 4k restoration from Arrow Video boasts a decent picture with effective sound treatment in DTS HD master audio 5.1. The movie is rather stilted and bland to look at yet this only adds to it’s atmosphere. Extras consist of a fascinating commentary from film historian David Kalat. We also get a complete version of the cursed video (date you watch it?) and several worthwhile featurettes. There are also trailers and a photo gallery. Decent treatment for a classic that whilst diluted by modern standards, still deserves its place in horror movie history. And yes, I prefer it over its Hollywood remake.
Mensen maken de samenleving en nemen daarin een positie in. Deze website geeft toegang tot een diversiteit aan artikelen die gaan over 'samenleven', belicht vanuit verschillende perspectieven. De artikelen hebben gemeen dat er gezocht wordt naar wat 'mensen bindt, in plaats van wat hen scheidt'.