This relatively unknown, low budget indie thriller caught my eye due to it’s concept. A teenage kid who believes he could become a serial killer due to an obsession with murderers and his own sociopathic behaviour, stumbles on an actual serial killer case in his home town. That’s a (pun intended) killer concept right there.
Borrowing a tad from the overall plot of Dexter (takes a serial killer to track a serial killer) and with a ghoulish tongue-in-cheek sense of humour, I was easily along for the ride. The idea of exploring serial killers and lending that knowledge to tracking one down is interesting, but my gripe with this is that it’s a movie that doesn’t entirely have the balls to follow through on it’s concept. That being said performances are decent, especially genre legend Christopher Lloyd and young unknown Max Records (who clearly has to open a vinyl store). I also thought the killer’s motives were strangely sympathetic and at times it did get pretty grim and macabre (the lead character also works in a mortuary, so is surrounded by death). Now I’m going a little into spoiler territory in the next paragraph so if you want to go into this one totally fresh STOP READING NOW.
(mild spoilers). My issue is that the killer is not human, but some sort of creature and like movies before it (Jeepers Creepers, IT) that began promisingly with an eerie villain but later descend into ‘its a monster or an alien’ when they’re finally unmasked is both lazy and rather contrived. Why not make the serial killer a human being? Or is that a little too close to reality?
Some out of place choices of rock music ruin the mood occasionally, and overall it came off like an extended X-Files episode (not a bad thing). However I still managed to enjoy this despite it’s shortcomings and a reliance on horror movie convention.
How could I pass up a movie starring two of my favourites? I tend to enjoy almost anything with Amy Adams or Jake Gyllenhaal and consider them two of the best around right now. This latest effort has Adams as a high society, somewhat pretentious art gallery owner who when we meet her has just held her latest exhibition (something to do with overly obese women dancing around naked). One day she receives a manuscript off her ex (Gyllenhaal) who she hadn’t heard off in a while. Adams is currently in a rather loveless relationship with Armie Hammer (The Man From U.N.C.L.E.) but quickly finds her own past with Gyllenhaal echoed in the pages of the violent thriller he’s sent her.
Director Tom Ford’s highly atmospheric drama has a great noir-ish mood with an eerie style not unlike something by David Lynch or Alfred Hitchcock. This is aided well by a haunting orchestral score from Abel Korzeniowski. However the structure … the fact the movie jumps back and forth from Adams’ present circumstances, her past with Gyllenhaal and the story within the manuscript, which plays out like a revenge thriller … is all it’s own and makes this not your average movie. It’s an intelligent study of a relationship, about regret, revenge and bitterness but done in such a way that I found particularly gripping.
Michael Shannon (Man of Steel, Boardwalk Empire), increasingly an actor I’m impressed with lends the movie a degree of intensity as a character in the manuscript, and Gyllenhaal is again convincing even if we mainly see him in the manuscript setting (I’d have liked a bit more explored of his motives in the real-life segments but that aspect is mostly left to your imagination). Amy Adams is again very good and particularly nuanced making a generally unlikable character sympathetic as the movie draws to a close. The point that is reached felt a little ‘…and?’ but that’s small thing for what is otherwise a clever and engrossing experience.
Not for everyone, but I came away rather impressed.
I went through a phase of collecting the movies of revered Italian horror director Dario Argento in the early-to-mid 2000s, and had nearly every movie he’d made on DVD, whilst always trying to seek out the most complete, uncut versions of his art. With the advent of Blu-ray I sort of began collecting again, to a less obsessive extent but have been happy to see some of his movies get deluxe releases in recent times. Therefore we come to one of his more bizarre and most mistreated works.
Just prior to finding world-wide fame in children’s fantasy ‘Labyrinth’ this stars a young Jennifer Connelly as a student who comes to stay at an elite school for girls in Switzerland and quickly befriends her rebellious roommate. However at the same time there have been reports of a series of brutal murders involving female students and with the help of a paraplegic insect expert played by genre legend Donald Pleasence and Jennifer’s own ability to communicate with insects, an investigation ensues to unmask a killer.
This blends two of Argento’s favourite styles; dark-fantasy and murder mystery and is very similar in tone to his acclaimed classic ‘Suspiria’, sort of a spiritual successor you might say. However unlike that movie this lacks the excessive style and garish colour pallet (despite a few visual flourishes here and there). We also get some woefully amateurish performances, even from Pleasance who sports a dodgy accent throughout (is he attempting Scottish?) and dialogue is delivered for the most part personality-free. The plot is also a bit messy and not very well written with some faintly ridiculous moments (Jennifer declaring to a bunch of bullying schoolgirls “I love you all” and Pleasence happily sending Jennifer to track down a killer). However if you can look past such shortcomings you still get an entertaining and suitably-violent ride with several great set-pieces and excellent use of a pulse pounding score by not only Argento regulars ‘Goblin’ but also ‘Iron Maiden’ and ‘Motorhead’. Far from Argento’s best, but with a b-movie schlocky vibe to it all, there’s still fun to be had and remains streets ahead of the director’s more recent work. There’s also a chimp brandishing a straight razor – so what’s not to love?
The Blu-ray, another impressive job from Arrow Video comes with three cuts of the movie, the International Version at 110mins, the slightly longer Italian Version at 116mins and the heavily cut Creepers U.S. release at 83mins. My preference is the International Version even if it has some long drawn out moments of throwaway dialogue that could easily have been trimmed. The Italian Version is pretty similar but has inserts of Italian-only scenes complete with subtitles but is great for completionists. I haven’t watched the Creepers cut but hear it’s not good at all. The new 4k restoration of the image is very good however. Clean and mostly pretty detailed. The soundtrack (in 5.1 DTS HD Master Audio and 2.0 Stereo) is also very pleasing even if dialogue sounded a bit low (especially noticeable when the music kicks in) and surrounds are given some love with the various music inserts. Extras are plentiful with a feature length documentary consisting of new interviews with Dario Argento, actors Daria Nicolodi and Fiore Argento (no sign of Connelly sadly) and with production crew and effects artists. We also get a brilliant commentary on the Italian Version by author Troy Howarth. Rounding out the release is a detailed 60 page booklet.
Although I enjoyed the original 1991 anime of the same name by Mamoru Oshii, I always felt like something was missing from it, that it wasn’t the complete package. So the prospect of a live action remake was for once, intriguing. Scarlett Johansson plays a cybernetic agent who’s only human part is her brain and fragmented memories of who she used to be. Other than that she’s a highly skilled killing machine, who’s agency ‘Section 9’ is killed in when a cyber terrorist begins killing various members of a robotics organization by using innocent people and hacking into their minds.
This took a little getting into. Translating a cyber-punk future Tokyo-like aesthetic to live action takes no end of CGI and visual flair, and initially it’s overwhelming, all weird holograms in the streets and bizarre costumes and gadgets. Yet once the story kicks in I really began to get absorbed in this world. Johansson is aided well by several recognisable faces, especially Juliette Binoche (The English Patient) as a scientist and veteran Japanese actor ‘Beat’ Takeshi Kitano (Battle Royal). Johansson herself is decent as a character trying to figure out what it’s like to be human and adjust to her robotic body, and she conveys the not-quite-human personality eerily well. The movie is also filled with several action sequences, although these are a little hit and miss – full of cool looking imagery for the trailer or poster, but fail to flow as well as say, The Matrix – there’s a little too much style and choppy editing to fully make them ‘zing’. Also the suit that Johansson’s character wears to go invisible … I’m still undecided if it looked sexy or silly (the original movie’s was much more skin-like and could easily be seen as naked). Such a look was probably avoided however to maintain that 12A/PG-13 rating (another issue that impacts the action).
Thankfully where it all leads is much more fleshed out and satisfying than the original movie and has more closure for the lead character. So for the always difficult task of translating anime to a mainstream audience, director Rupert Sanders has done a commendable if somewhat rough around the edges job, that’s still worth your time if you like your sci-fi with style cranked up to 11.
The arrival of a mysterious Japanese hermit in a small South Korean village sparks suspicion and escalating stories amongst the townsfolk, which quickly turn to hysteria when a strange virus begins to cause the people to turn violent and kill each other. A bumbling Police Sergeant becomes involved in the investigation and soon learns his young daughter may have contracted the same virus.
This acclaimed horror / thriller is directed with no-end of visual flair by Na Hong-jin (The Chaser) and is filled with interesting, flawed but very believable characters and not-unlike-Seven atmosphere in a constantly rain-swept village. It has a very compelling mystery at it’s core and several strong performances that kept me interested. The inclusion of Korean and Christian beliefs and superstition mixed with the spreading of rumours and prejudice towards the mystery hermit was also a clever approach. Add to this some gorgeous cinematography as well as several memorable scenes and I was having a great experience with this latest Korean effort.
However as the story neared it’s conclusion, a twist turned events on their head but thankfully impressed me with how well it suddenly made everything fall into place … that was until a second twist turned that revelation on it’s head also, and then I was left confused. Up until that point I’d been gripped and the very well observed and powerful ‘father trying to save his daughter’ narrative was looking to make this an easy recommendation. But despite a dark-as-it-gets ending (which did leave it’s mark) I came way feeling rather cheated. Shame.