Silly, stupid me. You'd think I would have come to expect only the best from Quentin Tarantino, and that's what he gives us here.....one of his best.
In Django Unchained, Django (Jaime Foxx) is a slave who is freed by bounty hunter Dr. King Schultz (Christoph Waltz). Django is the only man who can identify Dr. king's next bounty, so Dr. King teams up with Django and trains him to be a top bounty hunter. Django intends to use his new skills to rescue his wife (Kerry Washington, who mainly screams here and not much else), who has been sold to a maniacal plantation owner named Calvin Candie (Leonardo DiCaprio).
Let's get something straight right off the bat here: Tarantino doesn't make movies, he makes glorious, slow passionate love to the big screen. The sweeping vistas and the way the camera is used is stunningly gorgeous. The costume designs and sets are elaborate and beautifully realized, if Django Unchained doesn't walk away with an Oscar for set design and costumes, it's a damn shame.
Also on display here is Quentin's usual fantastic script. Now, he does use the "N" word a lot during the film (mainly during the 2nd act when we are at "Candie-land", the name of Candie's plantation), but I never felt that it was too intrusive or noticeable except for a few moments here or there. Now, Quentin, as usual, can get a bit too cocky at times (like a final "horse dance" at the end) and this does detract from the film a bit and there are times where it feels like we are laughing along with the characters at the negroe's misfortunes which is bound to leave somewhat of a bad taste in audience's mouths. That said, the film overall, while a good deal darker than other Tarantino films, is still entirely enjoyable for the most part.
Jaime Foxx is downright superb as the titular character, Django. He is completely believable as a slave turned bounty hunter imbued with a righteous anger. Nice little touches help add to the believability like Django learning to read and being told certain words meanings that he never knew before. Over all, Foxx is a complete joy to watch and it helps that he plays his role pretty seriously for the most part.
Christoph Waltz is back as bounty hunter Dr. King Schultz (his name seems to be an obvious reference to another famous Dr. King). Him and Tarantino seem to be a match made in heaven. Tarantino knows how to direct the great actor, and Waltz seems to genuinely enjoy every second he has in this film. Needless to say, his performance here is not quite as great as his breakthrough in Inglourious Basterds, but this is easily 2nd best no doubt in my mind.
Leonardo DiCaprio once again proves what we all should know by now, that he is a force to be reckoned with. He plays his role of Calvin Candie with all the force of a hurricane. He plays his part with a warm smile that hides an all too sinister glee. For the most part he is a friendly face, but his scary depths can emerge at the most unexpected of times, giving this character an unpredictable and even terrifying edge.
Samuel L. Jackson appears late in the film, but his performance here is one of the hidden treats of the film. He plays the house "N" word that may not be quite as dumb as he is making himself out to be. Easily him and DiCaprio have the best dynamic in the film as one is the figurehead and the other is the real brains. I've never seen Jackson tackle a role with such glee in years. He is having fun with the part he has been given to play and this is easily one of his all time best performances and the power dynamic/struggle him and DiCaprio share makes the film all the more richer and fun to watch.
Expect to see Django Unchained to have a definite presence at the Oscars this year. The film does run around 20 minutes too long, but that doesn't detract from any of the fun to be had here. Yes, Tarantino's usual final act bloodfest is on full display here, and boy is it glorious (though the gushing geysers of blood can be a bit too much at times). Django Unchained is easily one of the best films of the year for me, easily surpassing Argo and Les Mis. If you are in the mood for a bloody, somewhat controversial good time then saddle up your horse for Django and hold on for one helluva wild ride.
4.5/ 5 Stars
Sunday, December 30, 2012
Thursday, December 27, 2012
IS LES MISERABLES MASTER OF THE HOUSE?
Les Miserables and I go back a ways. Our story started waaaay back in 2006, when my high school put on a production of the Broadway smash. Back then I would tech for shows, but Les Mis was one I decided to sit out on, boy do I regret that decision. I only attended one showing of my high school's production, but I was completely enamored by the show, and the memory of that one production has stuck with me all these years later. Now, our story continues with the highly anticipated movie adaptation.
Les Miserables is about how one simple act of kindness can forever change a man's life. When a recently paroled convict, Jean Valjean (Hugh Jackman) is caught stealing a local bishop's money, instead of condemning him, the bishop frees Valjean. This simple act forces Valjean to change his ways and sets his life on a collision course with many unfortunate, miserable people whose lives Valjean will change.
The first question that we must ask is this: Does Les Mis the stage musical work as a movie musical? The answer is a surprising: not completely. For the most part it works really well, there are many epic, spectacular moments that adapt themselves well to the big screen. I must give director Tom Hooper credit, he set out to make as faithful an adaptation to the stage musical as possible, and he just about succeeds in his endeavor. He cuts very little out in the movie adaptation (though he does rearrange a few parts and adds a few things here and there, nothing too noticeable though and it doesn't change all that much when you get down to it), which runs at a lengthy 157 minutes, however this means that the film does drag...a lot, especially in the 2nd half at the barricade. I could see how newcomers to Les Mis may get bored or frustrated and Tom Hooper seems to sense this issue and tries to fix it by attempting to up the tempo. Even though the 2nd half is where most of the film takes place, and it is where the most crucial events occur, it feels very rushed....to the point where it didn't feel natural. By giving this whole part a rushed feel, Hooper doesn't allow the gut-wrenching events that occur during the 2nd half to hold the emotional impact that they should. Yes it may drag, but it's supposed to and by rushing these parts he robs the film of it's natural flow and emotional weight. There were moments where I should have been tearing up, but I wasn't.
While Hooper does undermine the emotional impact of some moments, there were areas where he made very wise decisions, like the cinematography and choice to record the songs live on set as the camera rolled. The sets are fantastic, from the opening number where convicts are forced to drag a ship into harbor during a violent storm, to the building of the barricade, every set is beautifully realized. The film does utilize quite a bit of CGI, but unlike other recent films the CGI works fairly well in Les Mis and blends pretty well into the sets. I also appreciate how almost every solo in the film is filmed using extreme close-up shots. these allow us to focus on the character singing (much like we would during a stage musical) and allows us to view the natural progression of their emotions during the song. This technique works best during "I Dreamed A Dream", "On My Own, and "Empty Chairs at Empty Tables". Of course, for reasons I'm sure I don't have to state here, the choice to record the songs live on set worked incredibly well for the film as well, giving the film a raw, real quality that you can otherwise only get on stage.
The whole cast here was well cast. Hugh Jackman was a natural choice for Valjean, the hero of our story. He acts the crap out of his role and sings his songs like it's nobodies business. Sacha Baron Cohen and Helena Bonham Carter were perfectly cast as the Thenardiers, the despicable and ugly owners of an inn who spend their free time doing various naughty deeds. Their singing was ok, but they fit the roles perfectly...I just wish they added some real menace to their characters that was present in the stage version but missing here. Amanda Seyfried was ok as Cosette, she has never been my favorite character and she is as boring here as she was in the stage version. You still care for her though. Seyfried's singing was very shaky, especially when she had to sing high, which was in just about every one of her songs. Anne Hathaway was amazing and heart-breaking as the unfortunate and tortured Fantine. She does an amazing acting job and her singing was top notch. Another fantastic performance came in from newcomer Samantha Barks, who plays the tragic role of Eponine (my favorite character from the stage version and my favorite character here too). She has raw emotion here, and her versions of "On My Own" and "A Little Fall of Rain" are fantastic. Barks had played Eponine on Broadway, so naturally she is extremely memorable here. Expect to see both Barks and Hathaway receive a best supporting actress nod, though I'd give the edge to Barks here...she was absolutely sympathetic and perfect in her performance. Daniel Huttleston (also fresh off broadway as Gavroche, apparently he acted next to Samantha Barks in the same production there) was perfect as Gavroche, another one of my favorite characters from the show. He fit the role like a glove and embodied the role extraordinarily well, shame they cut his solo out of the film. Aaron Tveit, a seasoned Broadway performer, was great as Enjolras, the leader of the small revolt that is the focus of much of the film. Eddie Redmayne was great as well in the role of Marius, Enjolras' best friend and love interest for Cosette. He did a pretty great acting job, although his face looked a little too exuberantly wacky at times. Every performer here did an adaquate job at singing their songs except for Russel Crowe as Javert, the police officer who is hell-bent on capturing Valjean. It boggles the mind how the casting directors could have fumbled the ball so spectacularly. Crowe is a Baritone, this means he sings in a deep voice. this would be fine, except that the role of Javert requires him to sing in an upper octave. He does try, but his voice just wasn't made to reach those high notes, unfortunately. That said, he does an ok acting job.
For fans of musicals, Les Mis is just about as perfect an adaptation as you can get. As I had already said, the film pretty accurately adapts the musical to the big screen. Problems you have with the film most likely would be problems you would have with the musical as well. If you do not like musicals, you would be wise to avoid this film at all costs. Just like the stage version, all the dialogue is sung minus a line here or there. For fans of musical theater though (like myself), you have found valhalla, the movie that the musical gods have so kindly bestowed among us.....this is nirvana. I was geeking out constantly during this film. Is it slow? You betcha! Will you cry? Most likely. Will you love every second of it despite a few possible small qualms? Well, I sure did! It's fitting that Les Miserables was released Christmas day, because it makes for a perfect gift. I know I would give no second thought to forking over the cash to see it a second and maybe even a third time. If you are a true fan of Les Miserables and musicals in general, then this film is indeed for you. If you haven't seen the stage version and you are a newcomer to Les Mis, I highly encourage you to see this film. Expect this film to get quite a few Oscar Nods. While I still need to see a few more films that are sure to make the Best Picture category, for now this is my personal favorite film of the year.
4/5 STARS
Les Miserables is about how one simple act of kindness can forever change a man's life. When a recently paroled convict, Jean Valjean (Hugh Jackman) is caught stealing a local bishop's money, instead of condemning him, the bishop frees Valjean. This simple act forces Valjean to change his ways and sets his life on a collision course with many unfortunate, miserable people whose lives Valjean will change.
The first question that we must ask is this: Does Les Mis the stage musical work as a movie musical? The answer is a surprising: not completely. For the most part it works really well, there are many epic, spectacular moments that adapt themselves well to the big screen. I must give director Tom Hooper credit, he set out to make as faithful an adaptation to the stage musical as possible, and he just about succeeds in his endeavor. He cuts very little out in the movie adaptation (though he does rearrange a few parts and adds a few things here and there, nothing too noticeable though and it doesn't change all that much when you get down to it), which runs at a lengthy 157 minutes, however this means that the film does drag...a lot, especially in the 2nd half at the barricade. I could see how newcomers to Les Mis may get bored or frustrated and Tom Hooper seems to sense this issue and tries to fix it by attempting to up the tempo. Even though the 2nd half is where most of the film takes place, and it is where the most crucial events occur, it feels very rushed....to the point where it didn't feel natural. By giving this whole part a rushed feel, Hooper doesn't allow the gut-wrenching events that occur during the 2nd half to hold the emotional impact that they should. Yes it may drag, but it's supposed to and by rushing these parts he robs the film of it's natural flow and emotional weight. There were moments where I should have been tearing up, but I wasn't.
While Hooper does undermine the emotional impact of some moments, there were areas where he made very wise decisions, like the cinematography and choice to record the songs live on set as the camera rolled. The sets are fantastic, from the opening number where convicts are forced to drag a ship into harbor during a violent storm, to the building of the barricade, every set is beautifully realized. The film does utilize quite a bit of CGI, but unlike other recent films the CGI works fairly well in Les Mis and blends pretty well into the sets. I also appreciate how almost every solo in the film is filmed using extreme close-up shots. these allow us to focus on the character singing (much like we would during a stage musical) and allows us to view the natural progression of their emotions during the song. This technique works best during "I Dreamed A Dream", "On My Own, and "Empty Chairs at Empty Tables". Of course, for reasons I'm sure I don't have to state here, the choice to record the songs live on set worked incredibly well for the film as well, giving the film a raw, real quality that you can otherwise only get on stage.
The whole cast here was well cast. Hugh Jackman was a natural choice for Valjean, the hero of our story. He acts the crap out of his role and sings his songs like it's nobodies business. Sacha Baron Cohen and Helena Bonham Carter were perfectly cast as the Thenardiers, the despicable and ugly owners of an inn who spend their free time doing various naughty deeds. Their singing was ok, but they fit the roles perfectly...I just wish they added some real menace to their characters that was present in the stage version but missing here. Amanda Seyfried was ok as Cosette, she has never been my favorite character and she is as boring here as she was in the stage version. You still care for her though. Seyfried's singing was very shaky, especially when she had to sing high, which was in just about every one of her songs. Anne Hathaway was amazing and heart-breaking as the unfortunate and tortured Fantine. She does an amazing acting job and her singing was top notch. Another fantastic performance came in from newcomer Samantha Barks, who plays the tragic role of Eponine (my favorite character from the stage version and my favorite character here too). She has raw emotion here, and her versions of "On My Own" and "A Little Fall of Rain" are fantastic. Barks had played Eponine on Broadway, so naturally she is extremely memorable here. Expect to see both Barks and Hathaway receive a best supporting actress nod, though I'd give the edge to Barks here...she was absolutely sympathetic and perfect in her performance. Daniel Huttleston (also fresh off broadway as Gavroche, apparently he acted next to Samantha Barks in the same production there) was perfect as Gavroche, another one of my favorite characters from the show. He fit the role like a glove and embodied the role extraordinarily well, shame they cut his solo out of the film. Aaron Tveit, a seasoned Broadway performer, was great as Enjolras, the leader of the small revolt that is the focus of much of the film. Eddie Redmayne was great as well in the role of Marius, Enjolras' best friend and love interest for Cosette. He did a pretty great acting job, although his face looked a little too exuberantly wacky at times. Every performer here did an adaquate job at singing their songs except for Russel Crowe as Javert, the police officer who is hell-bent on capturing Valjean. It boggles the mind how the casting directors could have fumbled the ball so spectacularly. Crowe is a Baritone, this means he sings in a deep voice. this would be fine, except that the role of Javert requires him to sing in an upper octave. He does try, but his voice just wasn't made to reach those high notes, unfortunately. That said, he does an ok acting job.
For fans of musicals, Les Mis is just about as perfect an adaptation as you can get. As I had already said, the film pretty accurately adapts the musical to the big screen. Problems you have with the film most likely would be problems you would have with the musical as well. If you do not like musicals, you would be wise to avoid this film at all costs. Just like the stage version, all the dialogue is sung minus a line here or there. For fans of musical theater though (like myself), you have found valhalla, the movie that the musical gods have so kindly bestowed among us.....this is nirvana. I was geeking out constantly during this film. Is it slow? You betcha! Will you cry? Most likely. Will you love every second of it despite a few possible small qualms? Well, I sure did! It's fitting that Les Miserables was released Christmas day, because it makes for a perfect gift. I know I would give no second thought to forking over the cash to see it a second and maybe even a third time. If you are a true fan of Les Miserables and musicals in general, then this film is indeed for you. If you haven't seen the stage version and you are a newcomer to Les Mis, I highly encourage you to see this film. Expect this film to get quite a few Oscar Nods. While I still need to see a few more films that are sure to make the Best Picture category, for now this is my personal favorite film of the year.
4/5 STARS
Wednesday, October 31, 2012
SMALLS' FRIGHT FEST: PSYCHO
HAPPY HALLOWEEN EVERYONE!!!!!
Today, for my final I review I am going to take us for a nice, relaxing stay at the Bates Motel, but be careful because Mother isn't quite herself today. That's right folks, today I review Psycho!
Psycho is the story of Marion Crane (Janet Leigh), who flees town after stealing 40 grand. Tired from the stress of the day, from all the driving, and looking for a place to escape the rain, she stops in for a stay at the Bates Motel, befriending the sole proprietor of the place, Norman Bates (Anthony Perkins), who is stuck having to take care of his invalid mother. Little does she know that her night of rest will soon take a tragic turn for the worst, and Norman will be left to clean up the mess left behind. Soon, various people will come looking for Marion and Norman may not be up to the task of having to cover for his mother yet again.
Psycho's main protagonist would appear to be Marion Crane, but in reality it is actually Norman Bates, who is portrayed to perfection by Anthony Perkins. Norman is a shy, milquetoast, socially awkward but charming and likable man who has lived his life under the oppressive thumb of his domineering and controlling mother. This has shaped him in many numerous and unfortunate ways which should become all too clear by the end of the film. He has no control over the events that occur at his little motel. He shapes the events but is unaware that he is shaping them. He is one of the greatest tragic characters of the silver screen and he has left a mark that will never fade.
Janet Leigh is great as the second tragic character of the film, Marion Crane. She makes an unwise choice and is persuaded by Norman to go back and right her wrongs. Before she can take any action to fix her mistakes though, she is brutally murdered in an iconic scene that once seen, cannot be unseen. I'm talking about the shower scene. This scene is responsible for many people's fear of taking a shower. You're completely naked, vulnerable, and you have little means with which to defend yourself. It's quite literally the stuff nightmares are made of. In Psycho, the scene has a much more metaphorical meaning though. Water has always been used to symbolize purification and the washing away of sins, and the scene happens immediately after Marion has decided to give the money back. She steps into the shower, which can be seen as an act of her attempting to wash away her sins, unfortunately she is killed before she can finish this symbolic act. She fights back against her attacker, but ultimately fails to protect herself. In a last ditch effort to save herself, she attempts to hold onto the shower curtain to keep herself up, but it cannot hold her weight and it rips apart and Marion collapses onto the floor. As we literally watch her life force (her blood) drain out of her and down the drain, the camera focuses on her glazed over eye...the final striking shot in a scene that easily earns it's place in film history...never before had a film killed off it's highest billed actress halfway through the film.
Psycho also plays host to one of the most fantastic settings in any film: The Bates Motel. To me this setting has become so iconic that it's almost come to represent the human mind, with the Bates Motel representing the conscious mind and the Psycho House representing the subconscious mind. No matter how you choose to view this setting, it is very eerie, creepy, and unsettling and it adds to the already superb atmosphere that can be found in this film. Fun fact: the interior staircase is actually filmed inside the Psycho House. Originally, the staircase and hallway were all that stood inside the house, but each proceeding film added more to the inside so that the house is actually more-or-less an actual house now. I don't know about you, but I would love to step foot inside it one day.
One of the main themes in the film is of the mother-son relationship and how it affects the son. Hitchcock had always been fascinated by this relationship, and he explored it a little bit in The Birds. In Psycho he delves fully into this relationship, choosing to focus on how the relationship can go so horribly wrong, and how the mother can influence her son and warp him into a monster. It really is pretty scary stuff when you get right down to it. Naturally, the other theme in the film is the workings of the human mind and Hitchcock attempts to fully explore this theme as well.
Bernard Herman composes the score here and he does a magnificent job as always. It's a creative, different score and one that, while not always a joy to listen to (the screaming violins always manage to disturb me even when i'm just listening to them on my ITouch), is still brilliant and worth a listen nonetheless. Hitchcock manages to use the iconic Psycho theme (No, not the shower theme) to represent the workings of the human mind, just another example of how a score can become an integral part of a film.
Psycho is also notable in that it was one of the first films to get audiences to root for and sympathize with the villain. Yes, for those of you who do not already know, Norman ends up being the psychotic killer. The way the film handles his character though is a thing of beauty, managing to get the audience fully on his side until the final reveal, which is all kinds of sad (but in a good way).
Psycho is a brilliant masterpiece of film making. It's got fantastic cinematography, stand-out performances from it's cast (mainly Anthony Perkins, who shines here like it's nobody's business), an amazing script, and a completely heartbreaking final twist. Psycho is without a doubt one of Hitchcock's finest films, and after all these years it still impresses, shocks, and chills.
5 STARS- BETTER THAN SEX
That does it for this year's Fright Fest. I'd like to thank everyone who stuck with me throughout the whole thing. This was undoubtedly my most successful Fright Fest yet. Till next October, stay away from any shady motels and, once again, Happy Halloween.
Today, for my final I review I am going to take us for a nice, relaxing stay at the Bates Motel, but be careful because Mother isn't quite herself today. That's right folks, today I review Psycho!
Psycho is the story of Marion Crane (Janet Leigh), who flees town after stealing 40 grand. Tired from the stress of the day, from all the driving, and looking for a place to escape the rain, she stops in for a stay at the Bates Motel, befriending the sole proprietor of the place, Norman Bates (Anthony Perkins), who is stuck having to take care of his invalid mother. Little does she know that her night of rest will soon take a tragic turn for the worst, and Norman will be left to clean up the mess left behind. Soon, various people will come looking for Marion and Norman may not be up to the task of having to cover for his mother yet again.
Psycho's main protagonist would appear to be Marion Crane, but in reality it is actually Norman Bates, who is portrayed to perfection by Anthony Perkins. Norman is a shy, milquetoast, socially awkward but charming and likable man who has lived his life under the oppressive thumb of his domineering and controlling mother. This has shaped him in many numerous and unfortunate ways which should become all too clear by the end of the film. He has no control over the events that occur at his little motel. He shapes the events but is unaware that he is shaping them. He is one of the greatest tragic characters of the silver screen and he has left a mark that will never fade.
Janet Leigh is great as the second tragic character of the film, Marion Crane. She makes an unwise choice and is persuaded by Norman to go back and right her wrongs. Before she can take any action to fix her mistakes though, she is brutally murdered in an iconic scene that once seen, cannot be unseen. I'm talking about the shower scene. This scene is responsible for many people's fear of taking a shower. You're completely naked, vulnerable, and you have little means with which to defend yourself. It's quite literally the stuff nightmares are made of. In Psycho, the scene has a much more metaphorical meaning though. Water has always been used to symbolize purification and the washing away of sins, and the scene happens immediately after Marion has decided to give the money back. She steps into the shower, which can be seen as an act of her attempting to wash away her sins, unfortunately she is killed before she can finish this symbolic act. She fights back against her attacker, but ultimately fails to protect herself. In a last ditch effort to save herself, she attempts to hold onto the shower curtain to keep herself up, but it cannot hold her weight and it rips apart and Marion collapses onto the floor. As we literally watch her life force (her blood) drain out of her and down the drain, the camera focuses on her glazed over eye...the final striking shot in a scene that easily earns it's place in film history...never before had a film killed off it's highest billed actress halfway through the film.
Psycho also plays host to one of the most fantastic settings in any film: The Bates Motel. To me this setting has become so iconic that it's almost come to represent the human mind, with the Bates Motel representing the conscious mind and the Psycho House representing the subconscious mind. No matter how you choose to view this setting, it is very eerie, creepy, and unsettling and it adds to the already superb atmosphere that can be found in this film. Fun fact: the interior staircase is actually filmed inside the Psycho House. Originally, the staircase and hallway were all that stood inside the house, but each proceeding film added more to the inside so that the house is actually more-or-less an actual house now. I don't know about you, but I would love to step foot inside it one day.
One of the main themes in the film is of the mother-son relationship and how it affects the son. Hitchcock had always been fascinated by this relationship, and he explored it a little bit in The Birds. In Psycho he delves fully into this relationship, choosing to focus on how the relationship can go so horribly wrong, and how the mother can influence her son and warp him into a monster. It really is pretty scary stuff when you get right down to it. Naturally, the other theme in the film is the workings of the human mind and Hitchcock attempts to fully explore this theme as well.
Bernard Herman composes the score here and he does a magnificent job as always. It's a creative, different score and one that, while not always a joy to listen to (the screaming violins always manage to disturb me even when i'm just listening to them on my ITouch), is still brilliant and worth a listen nonetheless. Hitchcock manages to use the iconic Psycho theme (No, not the shower theme) to represent the workings of the human mind, just another example of how a score can become an integral part of a film.
Psycho is also notable in that it was one of the first films to get audiences to root for and sympathize with the villain. Yes, for those of you who do not already know, Norman ends up being the psychotic killer. The way the film handles his character though is a thing of beauty, managing to get the audience fully on his side until the final reveal, which is all kinds of sad (but in a good way).
Psycho is a brilliant masterpiece of film making. It's got fantastic cinematography, stand-out performances from it's cast (mainly Anthony Perkins, who shines here like it's nobody's business), an amazing script, and a completely heartbreaking final twist. Psycho is without a doubt one of Hitchcock's finest films, and after all these years it still impresses, shocks, and chills.
5 STARS- BETTER THAN SEX
That does it for this year's Fright Fest. I'd like to thank everyone who stuck with me throughout the whole thing. This was undoubtedly my most successful Fright Fest yet. Till next October, stay away from any shady motels and, once again, Happy Halloween.
Tuesday, October 30, 2012
SMALLS' FRIGHT FEST: CARNIVAL OF SOULS
In Carnival of Souls, we follow Mary Henry (Candace Hillligoss), an attractive young girl who gets into a tragic car accident with some of her friends when their car crashes and sinks into a river. She is able to escape the sinking car and make her way back onto shore. Traumatized, she takes a job as a church organist in another town. Once there, she is haunted by a ghostly figure who, try as she might, she can not escape from.
Candace Hilligoss is great in the lead role. Her character of Mary is aloof and distant with most other people in the film, who try and continually fail to connect with this lost soul. Mary becomes fixated with an old abandoned carnival not far from town, and it soon becomes apparent that the only way she may be able to stop this mad ghoul's haunting is to confront him at the carnival.
Carnival of Souls is a very eerie, off-setting film that's got a great, weird vibe to it. The film's editing is simply fantastic, helping to keep the viewer on edge and adding to the eerie tone. The setting of the carnival is also a creepy one (in reality, it resembles more of a boardwalk than a carnival). You can practically still hear the barkers and the sound of the crowd even though it has been abandoned for quite some time. It's a beautifully realized set piece, and there is a lot of creepiness that takes place there.
Carnival of Souls is a film that was designed to make you question many things inside it, and it's superb and haunting ending is sure to leave you chilled to the bone. It's one of the eeriest films you can sample today, and while it almost feels as if on the edge of camp, it's always able to pull it back just enough so that you never laugh at the proceedings. It is low budget, but that almost adds to the chilly atmosphere here. If you like being thoroughly freaked out, and leaving a film with a chill on your back then Carnival of Souls is the film for you. I loved it, and will continue to re-watch it every Halloween season.
4 STARS
SMALLS' FRIGHT FEST: HALLOWEEN 3
ONE MORE DAY TO HALLOWEEN, HALLOWEEN, HALLOWEEN, ONE MORE DAY TO HALLOWEEN SILVER SHAMROCK
Welcome back to my fright fest. Today, I look at a film that has gained it's own cult following over the years, Halloween 3: Season of the Witch.
In Halloween 3, we follow Dr. Daniel Challis (Tom Atkins) who decides to do some investigating after one of his patients, who was mumbling prophetic warnings, is murdered. Along with the patient's daughter, Ellie (Stacey Nelkin), Dan does some digging, uncovering a conspiracy which seems to involve the Silver Shamrock Company, whose masks have been selling like crazy.
While Stacey Nelkin does an adequate job as Ellie, and Dan O'Herlihy does a suitable creepy performance as Conal Cockran, the mysterious head of the Silver Shamrock Company, this is really the Tom Atkins show. Atkins makes for a fantastic hero, which just about everyone who has seen any of his movies should know. He is charismatic, funny, but also manages to pull off the whole frantic thing pretty well too. Atkins has been a staple of many horror films over the years including the recent remake of My Bloody Valentine (of which he was one of the most memorable parts of), and his presence here only elevates the film even more. He is, as always, an immense joy to watch.
Halloween 3's first act is fairly weak, it's only when we get to explore Silver Shamrock that things start to get pretty tense, suspenseful, and creepy. The film can be very silly at times (especially whenever the suited men show up and try and act menacing....oh help, I'm, being attacked by a bunch of lawyers). A lot of what the film thinks is scary and creepy, just plain isn't. That said, the big reveal of the truth of Silver Shamrock always leaves me shaken and disgusted. While there are a lot of failed attempts at being scary and creepy, there are still some creepy things in the film that should send a good chill down your spine.
Upon release, Halloween 3 was deemed a flop. Most audiences were expecting the further adventures of Michael Meyers, and were upset when they got something completely and totally different. Now, different isn't always bad, and over the years the film has gained quite a cult following. Halloween 3 is certainly not as strong as Halloween's 1 and 2, but it still makes for a good Halloween night viewing.
3.5 STARS
Welcome back to my fright fest. Today, I look at a film that has gained it's own cult following over the years, Halloween 3: Season of the Witch.
In Halloween 3, we follow Dr. Daniel Challis (Tom Atkins) who decides to do some investigating after one of his patients, who was mumbling prophetic warnings, is murdered. Along with the patient's daughter, Ellie (Stacey Nelkin), Dan does some digging, uncovering a conspiracy which seems to involve the Silver Shamrock Company, whose masks have been selling like crazy.
While Stacey Nelkin does an adequate job as Ellie, and Dan O'Herlihy does a suitable creepy performance as Conal Cockran, the mysterious head of the Silver Shamrock Company, this is really the Tom Atkins show. Atkins makes for a fantastic hero, which just about everyone who has seen any of his movies should know. He is charismatic, funny, but also manages to pull off the whole frantic thing pretty well too. Atkins has been a staple of many horror films over the years including the recent remake of My Bloody Valentine (of which he was one of the most memorable parts of), and his presence here only elevates the film even more. He is, as always, an immense joy to watch.
Halloween 3's first act is fairly weak, it's only when we get to explore Silver Shamrock that things start to get pretty tense, suspenseful, and creepy. The film can be very silly at times (especially whenever the suited men show up and try and act menacing....oh help, I'm, being attacked by a bunch of lawyers). A lot of what the film thinks is scary and creepy, just plain isn't. That said, the big reveal of the truth of Silver Shamrock always leaves me shaken and disgusted. While there are a lot of failed attempts at being scary and creepy, there are still some creepy things in the film that should send a good chill down your spine.
Upon release, Halloween 3 was deemed a flop. Most audiences were expecting the further adventures of Michael Meyers, and were upset when they got something completely and totally different. Now, different isn't always bad, and over the years the film has gained quite a cult following. Halloween 3 is certainly not as strong as Halloween's 1 and 2, but it still makes for a good Halloween night viewing.
3.5 STARS
Monday, October 29, 2012
SMALLS' FRIGHT FEST: MOVIES I LOVE- CHRISTINE
John Carpenter used to be one of the greatest horror directors of all time. When he was in his hey day he brought us such films as The Thing, Halloween, They Live, The Fog, and In The Mouth of Madness. He also directed what I consider to be the best (and my personal favorite) adaptation of a Stephen King novel, Christine.
Christine is a love story about a boy and his car. Arnie Cunningham (Keith Gordon), a nerdy outcast, is the boy. Christine, a fiery red 1958 Plymouth Fury with a mind of her own, is the car. Slowly, Christine begins to possess Arnie, killing whoever gets between her and the boy. It doesn't take long before Arnie's girlfriend Leigh (Alexandra Paul) and Arnie's best friend Dennis (John Stockwell) begin to notice something is seriously wrong with Christine and they take matters into their own hands, hoping to destroy the devil's car and save Arnie before it's too late.
The way I could best describe Christine the car is in the terms as if she were a girl. She would be the insanely hot girl that you realize is a complete bitch and a psycho once you get to know her. She would be a great one night stand, but after you fuck her she wouldn't want to leave you and chances are if you did ditch her she would try to kill you. She is the clingy, jealous type. Christine does indeed talk in the film, speaking through songs played on her radio. She definitely has a mind of her own, and the ability to heavily influence her driver and his/her behavior. Christine easily emerges as her own character in the film.
Keith Gordon is great as Arnie, managing to play a nerd and a 50's style greaser perfectly. It is fun and scary to watch as Christine morphs him into the human version of herself. Once he is possessed him and Christine are one. Gordon pulls off the crazy blank eyed stare amazingly well. Arnie is a sympathetic character, but one that you find yourself very much afraid of by the time the end credits roll.
John Stockwell is perfectly cast as Dennis. He has an everyman quality to him, and he does feel like the kind of kid you knew in high school. He's popular with the ladies (but not overly popular), he plays football, and he's a great kid at heart, always stepping in to defend his friends. Dennis is Arnie's best friend in the film, and the beginning part of the film switches between Arnie's and Dennis' friendship and Arnie's and Christine's relationship. Dennis does disappear for a good chunk of the middle of the film, but he shows back up at the end. In a way, the main character of this film is actually Dennis since we do see events from his point of view quite often.
Alexandra Paul is great as Leigh, the new student that is brainy but also super flippin hot. Somehow, she winds up dating Arnie and grows to care very deeply about him despite his growing dislike of her. She is the first to notice that something is not right with Christine. Naturally, Christine does not approve of her being so close to Arnie and sees her as a threat, and we all know what Christine does with those who she sees as threats. Leigh isn't the most memorable character, but you do grow to love her by the end of the film and she does play an important part in the proceedings.
There are many memorable scenes in Christine, like the one where Christine chases after a bully while she is fully ablaze, and the one where she fixes herself in front of an astounded and clearly turned on Arnie. While these are great scenes, my favorite scene in the film has got to be the fantastic grand finale where Christine and a Caterpillar (as in the construction machine) go toe to toe. It's a scene that always leaves me cheering. The scene very much makes my inner geek happy, and whenever I see a CAT on the side of the road my thoughts always shoot right back to Christine.
While Christine is rated R, that is mainly because there is a lot of talk about banging early in the film. There is no nudity in the film, but there are naughty words and one scene of breast and crotch grabbing (not even bras are shown here). The killing scenes are also fairly non-bloody as well. I'd say Christine is a film you could show to young horror fans (like, 10 and over).
Christine is a film that is sadly overlooked these days. When most people think of great Stephen King adaptations, they usually think of The Shining or Misery...but for my money Christine is the best that there is, it's got a pretty good atmosphere, some great character development, great tension, and some pretty great scary parts too. Christine is a great, fun film that is sure to chill most and that any fan of John Carpenter, Stephen King, or good horror movies should not miss.
5/5 BETTER THAN SEX
Christine is a love story about a boy and his car. Arnie Cunningham (Keith Gordon), a nerdy outcast, is the boy. Christine, a fiery red 1958 Plymouth Fury with a mind of her own, is the car. Slowly, Christine begins to possess Arnie, killing whoever gets between her and the boy. It doesn't take long before Arnie's girlfriend Leigh (Alexandra Paul) and Arnie's best friend Dennis (John Stockwell) begin to notice something is seriously wrong with Christine and they take matters into their own hands, hoping to destroy the devil's car and save Arnie before it's too late.
The way I could best describe Christine the car is in the terms as if she were a girl. She would be the insanely hot girl that you realize is a complete bitch and a psycho once you get to know her. She would be a great one night stand, but after you fuck her she wouldn't want to leave you and chances are if you did ditch her she would try to kill you. She is the clingy, jealous type. Christine does indeed talk in the film, speaking through songs played on her radio. She definitely has a mind of her own, and the ability to heavily influence her driver and his/her behavior. Christine easily emerges as her own character in the film.
Keith Gordon is great as Arnie, managing to play a nerd and a 50's style greaser perfectly. It is fun and scary to watch as Christine morphs him into the human version of herself. Once he is possessed him and Christine are one. Gordon pulls off the crazy blank eyed stare amazingly well. Arnie is a sympathetic character, but one that you find yourself very much afraid of by the time the end credits roll.
John Stockwell is perfectly cast as Dennis. He has an everyman quality to him, and he does feel like the kind of kid you knew in high school. He's popular with the ladies (but not overly popular), he plays football, and he's a great kid at heart, always stepping in to defend his friends. Dennis is Arnie's best friend in the film, and the beginning part of the film switches between Arnie's and Dennis' friendship and Arnie's and Christine's relationship. Dennis does disappear for a good chunk of the middle of the film, but he shows back up at the end. In a way, the main character of this film is actually Dennis since we do see events from his point of view quite often.
Alexandra Paul is great as Leigh, the new student that is brainy but also super flippin hot. Somehow, she winds up dating Arnie and grows to care very deeply about him despite his growing dislike of her. She is the first to notice that something is not right with Christine. Naturally, Christine does not approve of her being so close to Arnie and sees her as a threat, and we all know what Christine does with those who she sees as threats. Leigh isn't the most memorable character, but you do grow to love her by the end of the film and she does play an important part in the proceedings.
There are many memorable scenes in Christine, like the one where Christine chases after a bully while she is fully ablaze, and the one where she fixes herself in front of an astounded and clearly turned on Arnie. While these are great scenes, my favorite scene in the film has got to be the fantastic grand finale where Christine and a Caterpillar (as in the construction machine) go toe to toe. It's a scene that always leaves me cheering. The scene very much makes my inner geek happy, and whenever I see a CAT on the side of the road my thoughts always shoot right back to Christine.
While Christine is rated R, that is mainly because there is a lot of talk about banging early in the film. There is no nudity in the film, but there are naughty words and one scene of breast and crotch grabbing (not even bras are shown here). The killing scenes are also fairly non-bloody as well. I'd say Christine is a film you could show to young horror fans (like, 10 and over).
Christine is a film that is sadly overlooked these days. When most people think of great Stephen King adaptations, they usually think of The Shining or Misery...but for my money Christine is the best that there is, it's got a pretty good atmosphere, some great character development, great tension, and some pretty great scary parts too. Christine is a great, fun film that is sure to chill most and that any fan of John Carpenter, Stephen King, or good horror movies should not miss.
5/5 BETTER THAN SEX
Sunday, October 28, 2012
SMALLS' FRIGHT FEST: FUN SIZE
Fun Size is yet another film that manages to live up to it's title...it is indeed quite fun.
Fun Size is the story of Wren (Victoria Justice) and her weird younger brother Albert (Jackson Nicoll). On Halloween, Wren plans on attending a party that her crush, Aaron Riley (Thomas McDonell), is hosting. Unfortunately, those plans are nixed when she is left home to take Albert Trick or Treating while her slightly whacked mom (Chelsea Handler) goes to a party of her own. Wren isn't too pleased to spend her night babysitting Albert, and apparently Albert feels the same way since he ditches his sister the first chance he gets and runs away to a convenience store where he teams up with store clerk Fuzzy (Thomas Middleditch) to exact revenge on girlfriend stealing, all around douche Jorgen (an uncredited Johnny Knoxville). Meanwhile, frantic to find Albert, Wren enlists the aide of best friend April (Jane Levy), and nerds Roosevelt (Thomas Mann) and Peng (Osric Chau).
Victoria Justice does a surprisingly good job in the role of everyday girl Wren, who yearns to be more popular (she looks tasty in her dorothy costume, and the film does aknowledge this at times). Jane Levy is fine as hot best friend to Wren April, who is none too happy to be missing out on Aaron's party to hang with two nerds and try to find Wren's little brother. To her, this is social suicide. While she does a pretty good job here, most will want to take notice since she stars in the upcoming remake of the Evil Dead. Thomas Mann is good as Roosevelt, who is a friend to Wren and obviously has a crush on her. Johnny Knoxville is believable as the dickbag, Jorgen. That said, he doesn't do all that great of a job here since he is essentially himself here.
By far, the best parts of the film are Albert and Fuzzy, who make for one awesome duo. Jackson Nicoll plays Albert, a weird 8 year old that, for whatever reason, decided to quit talking around a year ago. For Halloween, he goes as a one-armed Spider-Man and goes about creating chaos wherever he goes. He is ridiculously fun to watch and helps to elevate the film a good deal. He is a boy of many skills as we learn in the last scene of the film, n which he makes an embarrassing video remix of Wren. he also gets his own special credits scene. Thomas Middleditch plays Fuzzy, a convienience store clerk. He is a socially awkward outcast who decides to team up with Albert for some revenge. This could have come across as creepy, but in this film the teaming of Fuzzy and Albert works, and is actually quite endearing. It's fun to watch these two work together, and I really dug Fuzzy's awkwardness and bumbling.
Fun Size switches between the two stories, Albert's and Wren's, as they progress thoughout the night. While Albert's is obviously the better one here, there is still enough fun to be had with Wren's story that you won't ever be all that bored. There are moments where the film drags, but these never last for very long. Fun Size is a PG-13 film and there are some pretty adult parts in it including a scene of extended breast grabbing, some naughty language, a car humping chicken, a close up of Justice's butt, and a whole lot of sexual innuendo. I applaud Nickelodeon for taking a risk here, and luckily it pays off. I really do think the film just wouldn't have been as funny if it was rated PG instead. Nickelodeon has yet disappoint me.
Fun Size is a film about the bizarreness of not just Halloween, but of life. The film celebrates life's wackiness and it praises the joys of not fitting in and dancing to your own drum, hoisting the outcasts up on it's shoulders. It was a film that very much made my inner geek scream with joy. The humor in the film is of a rich, wacky, bizarre, awkward, random quality...and I laughed my butt off constantly. Fun Size has easily become one of my favorites of the year. It's one of the most creative, original films I've seen in a while (though it does borrow some inspiration from Adventures in Babysitting, the final product is luckily as different from that film as you can get). Fun Size is indeed a fun sized treat that makes for recommended Halloween season viewing.
3.5/ 5 STARS
Fun Size is the story of Wren (Victoria Justice) and her weird younger brother Albert (Jackson Nicoll). On Halloween, Wren plans on attending a party that her crush, Aaron Riley (Thomas McDonell), is hosting. Unfortunately, those plans are nixed when she is left home to take Albert Trick or Treating while her slightly whacked mom (Chelsea Handler) goes to a party of her own. Wren isn't too pleased to spend her night babysitting Albert, and apparently Albert feels the same way since he ditches his sister the first chance he gets and runs away to a convenience store where he teams up with store clerk Fuzzy (Thomas Middleditch) to exact revenge on girlfriend stealing, all around douche Jorgen (an uncredited Johnny Knoxville). Meanwhile, frantic to find Albert, Wren enlists the aide of best friend April (Jane Levy), and nerds Roosevelt (Thomas Mann) and Peng (Osric Chau).
Victoria Justice does a surprisingly good job in the role of everyday girl Wren, who yearns to be more popular (she looks tasty in her dorothy costume, and the film does aknowledge this at times). Jane Levy is fine as hot best friend to Wren April, who is none too happy to be missing out on Aaron's party to hang with two nerds and try to find Wren's little brother. To her, this is social suicide. While she does a pretty good job here, most will want to take notice since she stars in the upcoming remake of the Evil Dead. Thomas Mann is good as Roosevelt, who is a friend to Wren and obviously has a crush on her. Johnny Knoxville is believable as the dickbag, Jorgen. That said, he doesn't do all that great of a job here since he is essentially himself here.
By far, the best parts of the film are Albert and Fuzzy, who make for one awesome duo. Jackson Nicoll plays Albert, a weird 8 year old that, for whatever reason, decided to quit talking around a year ago. For Halloween, he goes as a one-armed Spider-Man and goes about creating chaos wherever he goes. He is ridiculously fun to watch and helps to elevate the film a good deal. He is a boy of many skills as we learn in the last scene of the film, n which he makes an embarrassing video remix of Wren. he also gets his own special credits scene. Thomas Middleditch plays Fuzzy, a convienience store clerk. He is a socially awkward outcast who decides to team up with Albert for some revenge. This could have come across as creepy, but in this film the teaming of Fuzzy and Albert works, and is actually quite endearing. It's fun to watch these two work together, and I really dug Fuzzy's awkwardness and bumbling.
Fun Size switches between the two stories, Albert's and Wren's, as they progress thoughout the night. While Albert's is obviously the better one here, there is still enough fun to be had with Wren's story that you won't ever be all that bored. There are moments where the film drags, but these never last for very long. Fun Size is a PG-13 film and there are some pretty adult parts in it including a scene of extended breast grabbing, some naughty language, a car humping chicken, a close up of Justice's butt, and a whole lot of sexual innuendo. I applaud Nickelodeon for taking a risk here, and luckily it pays off. I really do think the film just wouldn't have been as funny if it was rated PG instead. Nickelodeon has yet disappoint me.
Fun Size is a film about the bizarreness of not just Halloween, but of life. The film celebrates life's wackiness and it praises the joys of not fitting in and dancing to your own drum, hoisting the outcasts up on it's shoulders. It was a film that very much made my inner geek scream with joy. The humor in the film is of a rich, wacky, bizarre, awkward, random quality...and I laughed my butt off constantly. Fun Size has easily become one of my favorites of the year. It's one of the most creative, original films I've seen in a while (though it does borrow some inspiration from Adventures in Babysitting, the final product is luckily as different from that film as you can get). Fun Size is indeed a fun sized treat that makes for recommended Halloween season viewing.
3.5/ 5 STARS
Subscribe to:
Posts (Atom)