Triple Bill Mini Musings: Arse-kicking, Exploitation & Exploration...

Taken 2:
What's it about?
Revenge-fuelled sequel to the original Liam Neeson arse-kicker about a man with a particular set of skills suffering the consequences of his rampage of violence from the first movie, which was all predicated on rescuing his daughter from traffickers.
Who would I recognise in it?
Liam Neeson, Maggie Grace, Famke Jansen, Rade Serbedzija, Jon Gries, Leland Orser.
Great/Good/Alright/Shite?
I'd heard some pretty bad things about it so I went in expecting the worst, but was pleasantly surprised in general. It's definitely not as good as the original, which was a surprisingly good and rather brutal action flick filled with memorable moments, but the sequel isn't a huge let down either. That said, with the filmmakers aiming for a PG-13 release in the states (which was further trimmed for a piss-weak 12A in the UK), it all feels like a soft scoop version of what came before - necks and bones are broken soundlessly, blood has been digitally removed or desaturated, and the extremely dark and sinister undertones of the original are mostly absent. There's a harder cut that was released on home video, but annoyingly the version shown on Sky Movies was the watered down cut of the flick. Director Olivier Megaton (Transporter 3, and Colombiana, both of which were lacklustre affairs) has put out a good-looking movie, even if the fight scenes become a tad jumbled with shaky cam fast cuts, but it's a hard act to follow the original film's Pierre Morel (District 13). See it in the uncut form, and expect a drop in quality, and without the spine-tingling moments of the original, and you'll see a serviceable follow-up - not great, not awful. Alright.

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Machete Maidens Unleashed:
What's it about?
Documentary about 1970s filmmaking in the Philippines, which was mostly dominated by low budget exploitation fare like The Big Doll House, Women In Cages, The Big Bird Cage, and Black Mama White Mama.
Who would I recognise in it?
Pam Grier, Sid Haig, Roger Corman, Jack Hill, Joe Dante, Judith Brown, R. Lee Ermey, and various other names from this particular era of exploitation filmmaking.
Great/Good/Alright/Shite?
A breezy tour through the period, with a little bit of socio-political context to help cement the films, and the filmmaking, within a historical framework. Filled with interviews, clips, behind the scenes pictures and so on, it's a must-watch for fans of exploitation film whether or not you're familiar with the flicks themselves. Various tales from many of those involved add further spice to the mix, and while it's lacking in obsessive depth for the hardcore fans of the movement, it's an inclusive, fun and informative watch. Good.


Urban Explorers:
What's it about?
A group of tourists in Berlin seek thrills and adventure, so they hire an experienced urban explorer to take them on a guided tour of some of the hidden underground sights of the city's dark past. Naturally, being a horror movie, things don't go according to plan. Otherwise known as "Urban Explorer" or "The Depraved".
Who would I recognise in it?
Erm...
Great/Good/Alright/Shite?
Directed, Shot, and Edited by Andy Fetscher, it's a visually stunning film with a coherent and fascinating look that pushes the selling point of the movie to the max - the abandoned underground tunnels of Berlin. Urban Explorers should get a kick out of this movie, although hardcore UrbExers will probably find technical faults here and there, but to laymen and enthusiastic amateurs at least, there's plenty of vicarious thrills on offer. Afraid of tight spaces and the dark? You'll no doubt find your fingernails embedded in your palms during the first (and strongest) half of the film. Once a silly mistake brings the adventure crashing down around them, things take a dangerous turn with the arrival of Armin, a former East German border guard - a superbly threatening turn from Klaus Stiglmeier.

The second half does have a tendency to skirt close to genre cliche and general 'run and scream in the dark' antics, but Fetscher and screenwriter Martin Thau also manage to subvert expectations and, most impressively, add a layer of lifelike hesitations that prove deadly - the sort of hesitations everyday people make every single day across the world, and which potentially have dire repercussions. Deeply sinister, occasionally out-right shocking, and with a brilliant sense of gritty and dark presentation, the successes outweigh the failures. Some character decisions and certain moments of acting frustrate, and yet the film stands - for the most part - strong on its feet. According to FrightFest it's "An epic nightmare - The Descent meets Creep" ... it's certainly nightmarish (especially for claustrophobes who prefer to keep the lights on), and while it's never as terrifying as The Descent (nor as skilled at getting you invested in the protagonists), it's much better than the lacklustre Creep. Well worth checking out. Good.