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The original REC was one of the most accomplished and downright scary horror films of the last decade; a nerve-shredding journey into the heart of demonic darkness.
The story was a simple one - a Spanish TV journalist and her cameraman accompany a group of firefighters on a routine call for their magazine news show. The outcome was anything but.
Almost as soon as they arrive at the apartment building on the outskirts of Madrid, the team is locked in - quarantined because of a ferocious virus that has somehow been let loose. The film then follows the firefighter's efforts to battle the ferocious, zombie-like creatures wreaking havoc within, while the news team chronicles events on camera.
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The Brothers Bloom
There comes a point when you've innovated something as far as it can possibly go, added all that you could conceivably add, discovered all that there was to discover, so that nothing can ever again be new. For the most part, the con-man genre is like this, and if you draw a line back through cinematic history, you can trace the evolution of the double-cross in the most basic of terms. It began with a lie Ė one character deceiving another in such a way that the audience was in on the scam. And for awhile, the lie was enough. We were content to know exactly where the ball was at any point during the shell game. Whether the target would figure out the con was thrill enough for us. But then we got smarter, wiser, more demanding, and filmmakers delivered the triple-cross, or simply added another element to the con, shuffling around the shells at such a rate and speed that while the audience was aware of the deception, the conclusion was always surprising.
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Not to sound like a broken record, but is there any original thought in filmmaking anymore? It feels like half the movies I see in theaters are derivative anymore, which wouldnít be a bad thing if theyíd at least add something to the ideas they are borrowing from other pictures. Itís getting so bad that we canít even solely blame Hollywood anymore. After all Doomsday is a U.K. production, not a Hollywood film, and, as most people have realized from the advertising, itís a little bit The Road Warrior and 28 Days Later. Itís also a little bit Escape from New York, Army of Darkness, I Am Legend, and even a tiny bit Lord of the Rings. Itís just a shame none of it is much good in this form.
It is said that revenge is a dish best served cold. The Proposition illustrates that, extending the metaphor, revenge is more often bitter than sweet. Gritty to the point of being disturbing, The Proposition examines the revenge thriller not as the culmination of righteous indignation, but as a pyrrhic victory devoid of catharsis. On the surface, The Proposition may echo Hollywood's storied Westerns, but the look and the feel of the film are more disquieting than anything that John Ford or Sergio Leone ever brought to the screen. Closer cousins might be Clint Eastwood's Unforgiven and the HBO TV show Deadwood.
When I first saw High Tension at the 2003 Toronto Film Festival, I wrote the following: " [High Tension] has virtually no chance of finding a North American distributor. After all, what's the market for slasher films with subtitles?" Imagine my surprise to hear that Lions Gate Films had picked up the North American rights and were determined to release the film unedited (which garnered an NC-17 rating) and subtitled. Fast-forward 18 moths. Apparently, more financial concerns have cause Lions Gate to take a step back. The version of High Tension that is finally getting a United States release has been slightly trimmed (to get an R rating) and dubbed into English. The dubbing isn't as big an issue as it might be in another movie. There's not a lot of dialogue in High Tension, so the dubbing offers only a minimal distraction. For the most part, the characters are trying to be quiet, not engaging in long or meaningful conversations. The main reason to see this movie has nothing to do with what the characters say, but with their horrific descent into the macabre.
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Being John Malkovich
These days, critics (and non-critics, for that matter) are fond of complaining about how multiplexes are populated by cookie-cutter motion pictures that follow safe, formula-derived patterns designed to please audiences who want a different version of a story they have already seen dozens of times. And, while there's some truth to the maxim that "there's nothing new under the sun," Being John Malkovich tries hard to be the exception. Admittedly, the themes addressed by the movie - those of identity, celebrity, and manipulation - are familiar, but the manner in which director Spike Jonze and writer Charlie Kaufman address them is fresh and inventive. I'm not arrogant enough to claim that nothing like Being John Malkovich has ever previously been committed to celluloid, but, if it has been, I haven't seen it.
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Dead Man, Jim Jarmusch's first feature since 1992's Night on Earth, is a quirky chronicle of one man's physical and spiritual search for a place of belonging. Jarmusch chose to make Dead Man a western because, according to him, the genre is "very open to metaphor, and has deep roots in classical narrative forms." Actually, any kind of road picture could have been used to tell this oddly-compelling tale.
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The AbsentMinded Professor
One of Disney's most entertaining forays into live-action, this hit family comedy stars Fred MacMurray as a college professor so forgetful that he missed his own wedding twice. He creates an extremely resilient flying rubber, dubbed "Flubber," and manages to make his old Model-T bounce all the way to Washington, DC, where it is mistaken for a UFO, as well as helping the college basketball team win the big game with Flubber-powered sneakers. MacMurray is a lot of fun in the title role, ably supported by a cast including Tommy Kirk,
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A Plumm Summer
An amiable retro feel permeates "A Plumm Summer," and it's not just because this family film is set 40 years in the past. Montana-set, reality-inspired pic feels like an homage to a bygone era of moviemaking: It takes its time to build character and story, there's hardly a CG effect in sight, and there's nothing high-concept about it. Latter fact reps a significant though not insurmountable marketing hurdle. Expect, at least in the short term, continued fest appearances, where pic has been an audience favorite. DVD prospects, thanks to a recognizable cast, look sunny.
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Continental: A Film Without Guns
Four people are affected by one mans disappearance Lucette, his wife, who anxiously awaits his return Louis, a young father whose relationship with his wife is going through confusing times Chantal, a hotel receptionist who dreams of sharing her life with someone else Marcel, an ex-gambler confronted by the realities of aging.
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The Ghosts of Crowley Hall
Is There Anybody Out There?
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The comic strip and animated sailor hero comes to life in this meticulous live action production that looks at the origins of Popeye and his battle against arch-rival Bluto. Nearly all the characters from the strip are reproduced here.
A shape shifter (Burke) comes from the desert in search of victims, a spirit the locals call The Dust Devil. He prays on the lonely and the unloved, those that have already lost everything but life itself. Wendy (Field) has broken up with her husband and wanders aimlessly in her car. She picks up a stranger and begins having misgivings about picking him up when strange things begin to occur. Meanwhile a local police officer (Mokae) tracks the killer. Aided by a shamans admonishments about witchcraft he sets off to try and stop the beast before it can complete its grisly task.
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Lord of the Flies
After a plane crash in the ocean, a group of military students reach an island. Ralph organizes the boys, assigning responsibilities for each one. When the rebel Jack Merridew neglects the fire camp and they lose the chance to be seen by a helicopter, the group split under the leadership of Jack. While Ralph rationalizes the procedures, Jack returns to the primitivism, using the fear for the unknown (in a metaphor to the religion) to control the other boys, and hunting and chasing pigs, stealing the possession of Ralphs group and even killing people.
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A drama centered around a married couple who opened the first legal brothel in Nevada. Based on real events.
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Taken aback by his mothers wedding announcement, a young man returns home in an effort to stop her from marrying his old high school gym teacher, a man who made high school hell for generations of students.
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