Evil Dead II ... in clay ... with cats ... from Lee Hardcastle. Nuff said, now ruddy well watch this!
Showing posts with label demons. Show all posts
Showing posts with label demons. Show all posts
Friday, 20 July 2012
Monday, 20 June 2011
Double Bill Mini Musings: Demons and Dragons...
The Exorcist:
It's been 12 years since the BBFC unbanned William Friedkin's landmark film - 1999 was a watershed time in my formative years, when a torrent of previously banned or cut movies were unleashed onto the market uncut (for the most part). For a teenage horror-aficionado-in-progress it was a magical time, and naturally The Exorcist still had a certain cache attached to its name. However, for whatever reason, I never got around to seeing it until just now - although having seen practically every money shot from the flick in numerous documentaries and film-related list shows, I was already decidedly familiar with the film, which unfortunately dampened the effect that the movie no doubt has when seeing it with virgin eyes.
However, I could still appreciate - and imagine - what sort of a shock it must have been to audiences around the world upon its initial release. Indeed, the roller coaster trajectory where moments of quiet contemplation are brutally interrupted by sideswipes of chilling disturbance, still manages to raise the hairs on the back of your neck. It's an intelligent film, with a deliberately gradual pace, and a fascination with the clashing worlds of science, psychology, and religion. From monstrous looking-and-sounding machines of medical science dancing like demons over Regan's possessed form, to haunting call-backs to momentary personal experiences of Father Karras, the film rewards a patient viewer with a creeping sense of unease that builds to a chilling finale. It's just a shame that they don't stick to Mike Oldfield's creepily beautiful "Tubular Bells" throughout the credits (whoever thought it'd be a good idea to ham-fistedly chop-and-change the score after that final haunting image could use a slap).
So after all this time I've finally viewed the film itself, despite already being decidedly familiar with the enchanting sound of Tubular Bells, and the numerous famous moments (referenced in such movies as The 'Burbs), and I'm pleased that - despite that crushing familiarity-by-proxy - that it proved to be a worthwhile, intelligent, and haunting experience.
The Girl With The Dragon Tattoo:
I've never read Stieg Larrson's best-selling trilogy of books, and I'm unlikely to ever do so, so I'm purely going on the original Swedish film (now remade in English by David Fincher). Long story short (aptly enough), I found it thoroughly involving. For a two-and-a-half-hour long film, it didn't drag once. Every minute felt loaded with information and subtext, and it was all wrapped together in a beautiful-looking package (which is, amazingly, never at-odds with some of the brutally grim content). As a side note I watched it in the English Language Dub ... now, some cinephiles howl with indignation at the very thought of such a thing for numerous reasons, but I'm much more open to the idea if it's done well (and it was done well here). Think about it, countless countries around the world dub practically every piece of English-speaking film and television on a routine basis ... so why is it such an offence to view a quality English dub? It never felt distracting, and the voices felt suited to the physical presence of the actors.
Anyway, moving away from that issue, the tale of a shamed journalist and shadowy computer hacker investigating the case of a missing girl - which leads onto a series of connected murders - is a dark and deeply involving one. I'm looking forward to checking out the two follow-ups, The Girl Who Played With Fire, and The Girl Who Kicked The Hornets' Nest ... and come December, I'll be quite intrigued to see if the English language remake will stand confidently on its own two feet (David Fincher is, after all, directing). If you haven't already checked it out - do so sharpish.
It's been 12 years since the BBFC unbanned William Friedkin's landmark film - 1999 was a watershed time in my formative years, when a torrent of previously banned or cut movies were unleashed onto the market uncut (for the most part). For a teenage horror-aficionado-in-progress it was a magical time, and naturally The Exorcist still had a certain cache attached to its name. However, for whatever reason, I never got around to seeing it until just now - although having seen practically every money shot from the flick in numerous documentaries and film-related list shows, I was already decidedly familiar with the film, which unfortunately dampened the effect that the movie no doubt has when seeing it with virgin eyes.
However, I could still appreciate - and imagine - what sort of a shock it must have been to audiences around the world upon its initial release. Indeed, the roller coaster trajectory where moments of quiet contemplation are brutally interrupted by sideswipes of chilling disturbance, still manages to raise the hairs on the back of your neck. It's an intelligent film, with a deliberately gradual pace, and a fascination with the clashing worlds of science, psychology, and religion. From monstrous looking-and-sounding machines of medical science dancing like demons over Regan's possessed form, to haunting call-backs to momentary personal experiences of Father Karras, the film rewards a patient viewer with a creeping sense of unease that builds to a chilling finale. It's just a shame that they don't stick to Mike Oldfield's creepily beautiful "Tubular Bells" throughout the credits (whoever thought it'd be a good idea to ham-fistedly chop-and-change the score after that final haunting image could use a slap).
So after all this time I've finally viewed the film itself, despite already being decidedly familiar with the enchanting sound of Tubular Bells, and the numerous famous moments (referenced in such movies as The 'Burbs), and I'm pleased that - despite that crushing familiarity-by-proxy - that it proved to be a worthwhile, intelligent, and haunting experience.
The Girl With The Dragon Tattoo:
I've never read Stieg Larrson's best-selling trilogy of books, and I'm unlikely to ever do so, so I'm purely going on the original Swedish film (now remade in English by David Fincher). Long story short (aptly enough), I found it thoroughly involving. For a two-and-a-half-hour long film, it didn't drag once. Every minute felt loaded with information and subtext, and it was all wrapped together in a beautiful-looking package (which is, amazingly, never at-odds with some of the brutally grim content). As a side note I watched it in the English Language Dub ... now, some cinephiles howl with indignation at the very thought of such a thing for numerous reasons, but I'm much more open to the idea if it's done well (and it was done well here). Think about it, countless countries around the world dub practically every piece of English-speaking film and television on a routine basis ... so why is it such an offence to view a quality English dub? It never felt distracting, and the voices felt suited to the physical presence of the actors.
Anyway, moving away from that issue, the tale of a shamed journalist and shadowy computer hacker investigating the case of a missing girl - which leads onto a series of connected murders - is a dark and deeply involving one. I'm looking forward to checking out the two follow-ups, The Girl Who Played With Fire, and The Girl Who Kicked The Hornets' Nest ... and come December, I'll be quite intrigued to see if the English language remake will stand confidently on its own two feet (David Fincher is, after all, directing). If you haven't already checked it out - do so sharpish.
Tuesday, 12 April 2011
Double Bill Mini Musings: Kid-friendly frights...
The Gate & Gate II:
A while back now I recalled a couple of very hazy images from my childhood of a film I had seen a glimpse of on television, and after a long time pondering those vague visions and viewing many trailers from American PG-13 horror and fantasy flicks, I discovered that - to the best of my knowledge - the brief glimpses I could remember more-than-likely were from Gate II. Specifically it was what my 6-to-8 year old mind made of an early scene in the flick where Terry (and a rabble of rough teens) re-open the gate in the burnt out remnants of the house, which was the location of the antics in the first movie. I recall the house, its dilapidated state, a group of teens, a pinkish-purple colour and something to do with a portal having to be dealt with ... so like I said, to the best of my knowledge, the flick I was searching for all these years was Gate II ... although for some reason I'd gotten the impression there was a model version of the house involved that was somehow linked to the actual house, but I'm assuming that was a crossed wire in the old noggin.
The first flick, starring a very young Stephen Dorff, is a pretty darn fun time. It's decidedly 1980s, but in a good way, and it's a charming little horror flick suitable for the family. Most impressive however, are the practical special effects which mix stop-motion animation and forced perspective to a very impressive degree. It's like Poltergeist for kids, albeit with demons and hell rather than spooks and limbo.
While the first movie focusses very tightly on the house itself, which is subjected to a barrage of demonic goings-on in the second half (after a slow paced build up during the first half), the second movie goes for a much wider spread of locations - and explores a different approach to the titular portal to hell, namely the teens trying to use the power of the gate and of demonology for their own gain. The sequel is very different for the most part, and isn't as focussed as the first movie - although it does feature Pamela Segall as Liz (the actress later changed her name to Pamela Adlon, and can be found, 20 years later, as Marcy on Californication).
It was a weird experience coming to these movies from an incredibly vague snifter of a memory of one scene of the sequel, but it was nice to finally connect a full movie (or rather two movies) to that long-standing, yet very hazy memory. To see how an impression from childhood could suddenly come back after being forgotten for essentially 15 years, and then lead to an unguided search that eventually, a few years later, bore fruit.
A while back now I recalled a couple of very hazy images from my childhood of a film I had seen a glimpse of on television, and after a long time pondering those vague visions and viewing many trailers from American PG-13 horror and fantasy flicks, I discovered that - to the best of my knowledge - the brief glimpses I could remember more-than-likely were from Gate II. Specifically it was what my 6-to-8 year old mind made of an early scene in the flick where Terry (and a rabble of rough teens) re-open the gate in the burnt out remnants of the house, which was the location of the antics in the first movie. I recall the house, its dilapidated state, a group of teens, a pinkish-purple colour and something to do with a portal having to be dealt with ... so like I said, to the best of my knowledge, the flick I was searching for all these years was Gate II ... although for some reason I'd gotten the impression there was a model version of the house involved that was somehow linked to the actual house, but I'm assuming that was a crossed wire in the old noggin.
The first flick, starring a very young Stephen Dorff, is a pretty darn fun time. It's decidedly 1980s, but in a good way, and it's a charming little horror flick suitable for the family. Most impressive however, are the practical special effects which mix stop-motion animation and forced perspective to a very impressive degree. It's like Poltergeist for kids, albeit with demons and hell rather than spooks and limbo.
While the first movie focusses very tightly on the house itself, which is subjected to a barrage of demonic goings-on in the second half (after a slow paced build up during the first half), the second movie goes for a much wider spread of locations - and explores a different approach to the titular portal to hell, namely the teens trying to use the power of the gate and of demonology for their own gain. The sequel is very different for the most part, and isn't as focussed as the first movie - although it does feature Pamela Segall as Liz (the actress later changed her name to Pamela Adlon, and can be found, 20 years later, as Marcy on Californication).
It was a weird experience coming to these movies from an incredibly vague snifter of a memory of one scene of the sequel, but it was nice to finally connect a full movie (or rather two movies) to that long-standing, yet very hazy memory. To see how an impression from childhood could suddenly come back after being forgotten for essentially 15 years, and then lead to an unguided search that eventually, a few years later, bore fruit.
Saturday, 18 December 2010
Double Bill Mini Musings: A load of old Italian cobblers...
Demons & Demons 2:
The Italians, when it comes to the horror genre at least, aren't especially known for particularly great plots. The Italians love the look of something, and that's their primary focus - and so it is with this Dario Argento presented twosome, directed by Lamberto Bava (son of Mario "Bay of Blood" Bava).
The first has a bunch of randomly dated characters (including a pimp-like dude who looks like he got lost somewhere between Saturday Night Fever and a dialogue-light bad guy for Pam Grier to pummel) all attending a secret movie premiere. So begins the movie-within-a-movie, featuring some random mask that cuts you when you put it on and turns you into a demon, who can spread the demon disease through their fingernails. Inexplicably, in the lobby, there is a similar mask (for some reason dangling off the handlebar of a motorbike ... what random movie was this display supposed to be advertising anyway?) that, you guessed it, cuts the cheek of one of the pimp dude's floozies.
She goes all demon on everyone's arse and soon enough the good stuff in the flick finally gets on the go - that being the gore and nonsense violence. Grandiose shots, agonising shots to boot, of demons having their human teeth slowly pushed out by their devilish gnashers (similiar with their fingernails) ... and then constant shots of them wandering around aimlessly screaming ... ... the cast of dated stereotypes and useless fodder, led by the white-suited pimp, barricade themselves and fend off the back-lit, glowing eyed, titular antagonists - and get picked off one-by-one.
Fast forward to a helicopter - for utterly no reason at all - crashing through the ceiling, as well as endlessly dull sequences of coke-headed punks driving interminably around a not-at-all-good-to-look-at Italian city from the 1980s, to simply become yet more fodder, and it's all a bit insufferable, I've got to be honest.
I was rather looking forward to seeing Demons and Demons 2, but neither have the grandiose, painterly vision of Argento's technically superior eye, nor the unmitigated sleaze of Fulci's grindhouse grot. These flicks sit somewhere, uneasily, between, and while Argento's flicks sometimes aren't the strongest when it comes to plot, at least they have one that makes a lick of sense. Demons, and particularly the inferior sequel, is just a bunch of random crap happening.
Speaking of which, the second movie is exactly the same - but in a building - not 'the same like Die Hard 2 is the first one in an airport', no, it's pretty much exactly the same. It again features a movie-within-a-movie, that's supposed to be important, but isn't really, it again features the pimp-in-the-white-suit (this time as a tough-talking gym instructor), it again features a useless rabble of punks insufferably driving around a naff-looking Italian city, it again features gruesomely detailed shots of demon-dental-restructuring, and doesn't make a scrap of sense.
Most of the characters, more so than in the first, are literally nameless, and it's all set in an exceptionally ugly apartment complex filled wall-to-wall with cannon fodder. A bunch of random nonsense happens scene-after-scene in this 'swish' prison, all loosely cobbled together under 'various people need to survive the siege' - and the overacting, just like in the first, is heinous. It's not just naff acting, it's stupendously bad acting, performed by apparently good looking people.
What's worse though is how long it takes for the monsters to transform for most of the movie, until the third act when - for, again, no good reason at all - every remaining side character (in a cast of side characters) instantaneously mutates for 'a scare' (and that's at the same time as being able to impersonate their former selves, which was never flagged up to be an actual ability ... especially as, again, they spend half the movie lumbering around, back-lit, eyes glowing, and screaming endlessly at nothing).
I was really quite interested to see these flicks - the trailers made them look rather enjoyable - but the horrendous scripts, overacting, and general lack of sensible pacing or interest - threw all that out of the window for me. Perhaps if I'd seen them as a young teenager, but there are countless 'lesser' horror movies with far better scripts, acting, and pacing. It wouldn't be so bad if they were 'so bad they're good' (like Zombie Lake, for example), but they're clearly supposed to be something spectacular and they just aren't by any stretch of the imagination. I usually enjoy movies like this, and to each their own, but blimey I really didn't get on with these flicks at all.
The Italians, when it comes to the horror genre at least, aren't especially known for particularly great plots. The Italians love the look of something, and that's their primary focus - and so it is with this Dario Argento presented twosome, directed by Lamberto Bava (son of Mario "Bay of Blood" Bava).
The first has a bunch of randomly dated characters (including a pimp-like dude who looks like he got lost somewhere between Saturday Night Fever and a dialogue-light bad guy for Pam Grier to pummel) all attending a secret movie premiere. So begins the movie-within-a-movie, featuring some random mask that cuts you when you put it on and turns you into a demon, who can spread the demon disease through their fingernails. Inexplicably, in the lobby, there is a similar mask (for some reason dangling off the handlebar of a motorbike ... what random movie was this display supposed to be advertising anyway?) that, you guessed it, cuts the cheek of one of the pimp dude's floozies.
She goes all demon on everyone's arse and soon enough the good stuff in the flick finally gets on the go - that being the gore and nonsense violence. Grandiose shots, agonising shots to boot, of demons having their human teeth slowly pushed out by their devilish gnashers (similiar with their fingernails) ... and then constant shots of them wandering around aimlessly screaming ... ... the cast of dated stereotypes and useless fodder, led by the white-suited pimp, barricade themselves and fend off the back-lit, glowing eyed, titular antagonists - and get picked off one-by-one.
Fast forward to a helicopter - for utterly no reason at all - crashing through the ceiling, as well as endlessly dull sequences of coke-headed punks driving interminably around a not-at-all-good-to-look-at Italian city from the 1980s, to simply become yet more fodder, and it's all a bit insufferable, I've got to be honest.
I was rather looking forward to seeing Demons and Demons 2, but neither have the grandiose, painterly vision of Argento's technically superior eye, nor the unmitigated sleaze of Fulci's grindhouse grot. These flicks sit somewhere, uneasily, between, and while Argento's flicks sometimes aren't the strongest when it comes to plot, at least they have one that makes a lick of sense. Demons, and particularly the inferior sequel, is just a bunch of random crap happening.
Speaking of which, the second movie is exactly the same - but in a building - not 'the same like Die Hard 2 is the first one in an airport', no, it's pretty much exactly the same. It again features a movie-within-a-movie, that's supposed to be important, but isn't really, it again features the pimp-in-the-white-suit (this time as a tough-talking gym instructor), it again features a useless rabble of punks insufferably driving around a naff-looking Italian city, it again features gruesomely detailed shots of demon-dental-restructuring, and doesn't make a scrap of sense.
Most of the characters, more so than in the first, are literally nameless, and it's all set in an exceptionally ugly apartment complex filled wall-to-wall with cannon fodder. A bunch of random nonsense happens scene-after-scene in this 'swish' prison, all loosely cobbled together under 'various people need to survive the siege' - and the overacting, just like in the first, is heinous. It's not just naff acting, it's stupendously bad acting, performed by apparently good looking people.
What's worse though is how long it takes for the monsters to transform for most of the movie, until the third act when - for, again, no good reason at all - every remaining side character (in a cast of side characters) instantaneously mutates for 'a scare' (and that's at the same time as being able to impersonate their former selves, which was never flagged up to be an actual ability ... especially as, again, they spend half the movie lumbering around, back-lit, eyes glowing, and screaming endlessly at nothing).
I was really quite interested to see these flicks - the trailers made them look rather enjoyable - but the horrendous scripts, overacting, and general lack of sensible pacing or interest - threw all that out of the window for me. Perhaps if I'd seen them as a young teenager, but there are countless 'lesser' horror movies with far better scripts, acting, and pacing. It wouldn't be so bad if they were 'so bad they're good' (like Zombie Lake, for example), but they're clearly supposed to be something spectacular and they just aren't by any stretch of the imagination. I usually enjoy movies like this, and to each their own, but blimey I really didn't get on with these flicks at all.
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