Mou Gaan Dou [Infernal Affairs] (2002)

A top notch crime thriller. A complete revamp of what you'd expect to see from a Hong Kong crime flick. Gone are the highly stylised gun play action, where every character seems to knows a bit of kung fu and where blood would splatter freely. What we have here is a taut and tense cat and mouse film where the hero and villain are conflicted and both wish to be set free from their assigned roles. It was so outstanding, even Hollywood stood up and paid attention and remade it into an overblown but stylish crime film The Departed.

Ming (Andy Lau)

The Departed was highly praised, commercially and critically but I feel unfortunately, that a lot of people seem to have missed the original and raved on too much about the remake. It is a sharp, sleek and more focused film and it zips along and gets to the dramatic actions quicker. There is more characters and development in The Departed but sometimes less is more (the only character I particularly liked in The Departed gave the film more credibility was Staff Sgt Dignam played by Mark Wahlberg).

Yan (Tony Leung)

For those of you who don't know what the film's about here's a brief synopsis. 10 years prior to the present day events, we learn that a Triad Boss Mon Sam (Eric Tsang) instructs his newest minions to infiltrate the police force by recruiting to become a mole. Unbeknown to the crime lord, the police also have similiar ideas. All this is played out to us in under 8 minutes, Ming (Andy Lau) rises amongst the police ranks whilst Yan ( Tony Leung) earns the trust of his Triad Boss. No sagging and no extra luggage. Fast forward to present day we find Yan (Tony Leung) so desperate to finish his undercover assignment and Ming also tried of being an informant for the Triads.

One night when a lucrative drug deal is being set up, Superintendent Wong (Anthony Wong) is tipped off and plans to arrest Mon Sam and all those involved. Unfortunately Ming also tips off Sam and when both the police and the triads come away empty handed, suspicions arises and both parties conclude that there is a mole amongst their midst. Both organisation set out to flush the mole into the open and both assign their respective moles to find themselves!

With such a simplistic yet wildly unbelievable story, it is actually quite compelling. There are a few plot holes and characters which don't enhance the narrative of the film (Yan has a daughter....?!?) but overall the film feels fresh, full of energy and great use of locations (the city roof tops have never looked a cooler place for a secret meeting) and with Christopher Doyle as visual consultant we can see how immersing and intense the colours come out on screen. It's so clean and crisp, I have never seen a better looking Hong Kong film in such a long time.

Both leads portray men with an internal struggle to such an extent you believe they're both wanting out from their ordeal.They're basically playing each others roles and are sick of the lies and the constant fear of being found out. Tony Leung is, as always amazing and you can feel his turmoil by the look in his eyes (especially when he's put into a tight situation or when he feels like someone is on to him), and a special mention should go to Eric Tsang as he is normally associated with comedic roles and plays the role of a crime lord with great grit, determination and menace with none of the over theatrics that Jack Nicolson shows in the remake.

The use of mobiles and Morse code plays heavily in this film and provides the film with some of its more intense dramatic scenes. I don't think I have seen a better and more valuable use of the mobile phone than in this film. It is what makes it different from the usually HK crime films. It's relies heavily on characters' driving the narrative forward instead of some stupid nonsensical violent shoot-out (the film does have a shoot out on the streets but it's not over the top or excessively violent). It's very reminiscent of how U.S. crime thrillers are made. It's clever, with some neat twists and turns, some you may expect others you may not. When I first saw this film, it felt unique and very fresh. It mixes the Hollywood style of storytelling with Chinese themes of honour, loyalty and betrayal. I hope that if people saw The Departed, they would seek out the original as it is a more deserving film to be called a modern classic instead of it having a small cult following it currently has and I have been trying to get more people to watch it.

18/20

The Box (2009) with Trailer

This is the first of hopefully few films that I wish I never had spent any time on. It drove me insane to say the least. I was so hoping to enjoy (no, actually adore) this film that I was left feeling very disappointed. Maybe I'd pinned my hopes on this film being as interesting and intriguing as Richard Kellys previous works (Donnie Darko and Southland Tales). It feels like a missed opportunity and I feel cheated and want my 115 minutes back.

I usually try not to spoil a film by writing too much about the story or giving the ending away but if you do wish to endure this torture of a film then I would advise you not to carry on reading. The basic premise is that a young family (The Lewis's played by Cameron Diaz and James Marsden) are given an opportunity to become rich very quickly and simply just by pressing a button. Bang! There are drawbacks and stipulations to this offer (of course). When they push the button they will be paid a guaranteed sum of one million dollars and the other guarantee is that someone, somewhere in the world, who they don't know, will die. Sounds interesting....right? That's what I thought till I got to the end.

There isn't anything wrong with the idea or premise which was based on a short story by Richard Matheson which also, was adapted to TV by the show The Twilight Zone (and therein lies the problem). It's just an hour too long! The film seems to try to cram in too many ideas and convoluted plots which stalls the film mid way through. I did actually enjoy the first half an hour or so, wondering where this would be going. Of course they push the button and the leading consequences towards an inevitable ending just got more and more baffling and tirelessly unbearable to watch. This idea would be better suited as a short film/TV adaptation.

Interesting ideas aside, the film suffers from it own inability to gel into a cohesive narrative. The tone is difficult to describe. It starts off like a mystery/thriller/suspense and starts veering off into more of a science fiction flick and it seems to be lacking in clear direction. What was Mr Kelly trying to prove...? I can fit so many ideas in you won't be able to tell or care what really happens to the Lewis family (and to be honest with you I stop caring when they started to do idiotic and stupid things).

It's just questions after questions...Why can't films be a little bit more simpler and not try to make you think about a dozen things and hope they can pass it off as entertainment. Nosebleeds, multiple boxes, vessels, transportation, Mars, NASA, wind tunnels, zombie-like followers...the list of weird oddities goes on. It's just a little too much info and not enough clear sense. I don't mind being challenged but this is taking the proverbial biscuit. There is no clear reason as to why people are being given boxes with buttons on (you would push it) and it seems no one will ever learn the lesson. It's an experiment (apparently) we learn later on through the film but what are they trying to learn from us. People are greedy..?

Arlington Steward (Frank Langella)

The film isn't without some merit, It does have some glimpses of mild entertainment and enjoyment. Frank Langella plays the mysterious Arlington Steward very effectively, he is creepy and ominous and the scene always feels a lot more menacing when he's onscreen. Some of the dialogue is very well written and are very creepy (and humorous). The liquid transportation into the bedroom is impressive and what little effects are on show are done well.

I feel that, maybe if you haven't got such a high expectation from the director who I felt made a effortless feature debut with an abundance of promising talent, you may enjoy it but I would never wish to inflict this nonsense on even my worst enemy. It left me frustrated and disappointed. Even with a downbeat ending, it doesn't feel like it should have ended that way. I'm all for downbeat endings but I just didn't care in the end.

5/20

Chungking Express (1994) with Trailer

If you only get to watch one Wong Kar Wai film make it this one, It's the most accessible and enjoyable film he has made in my opinion. Wong Kar Wai is known for starting a film without a planned script and this film follows suit. This is all about obsessions and mourning over lost love. The narrative is split in two and the link between them is very tenuous (there is the obvious connection of them being two cops and that they eat at the same take out joint) but both stories do share the common theme of what a break up can do to a man and how a minor connection from strangers can overcome and heal ones heartache.

The first story introduces us to Cop 223 (Takeshi Kaneshiro) who is obsessively buying tins of pineapple with the expiration date May 1st to see if his love will re blossom or expire like the tins of pineapple. His own rational thinking involves the fact his birthday falls on the 1st of May so that will be the time to move on after mourning and pining after her for a whole month. When his birthday arrives he comes across a blonde wig wearing drug dealer on the run and he spots her in the bar. He tries his hardest to chat her up but she just wants to find somewhere safe to rest. Eventually they end up in a hotel together and she falls asleep and he wakes up alone the next morning, unbeknown to him he has helped her more than she could have hoped for.

With the second narrative, the transition occurs at the take out joint where both cops frequent and we are introduced to Faye (Faye Wong) the new waitress who notices the 2nd lovelorn cop, Cop 663 (played by Tony Leung) always coming in buying food and getting relationship advice from the owner. Unfortunately for him his relationship breaks down and he fails to notice the subtle advances made by the new waitress, so she sets out obsessively to try to get his attention and win him over by any means possible.

Cop 223 (Takeshi Kaneshiro)

I can't say how much I found this a breath of fresh air and an absolute joy to watch. Its very light and has a very dream like quality to the opening and the dazzling kaleidoscopic colours capturing the neon lights of the bustling Hong Kong streets incredibly well. Credit goes to the amazing cinematographer Christopher Doyle, he fleshes out such sumptuous vibrant colours from the locations. It's very aesthetically pleasing on the eye.

Cop 663 (Tony Leung) and Faye (FayeWong)

The dialogue is very much written the night before each scene and there is a poetic feel to the whole observational comments on love and the situations we can find ourselves in. The performances by both leads are commendable considering there isn't much to the script. Tony Leung is always watchable and there is always an intensity to him even when he has nothing to say, it's all in his eyes. He looks thoughtful and displays such emotion that even when he is just standing still in shot, he still out acts most actors.

People may find that it's a case of style over substance. The story is not the strongest part of this film and like I said before, Wong Kar Wai is known for starting a film without a completed script, but it's all the cinematic techniques which are on display which draws you in. The jump cut editing, the numerous pop cultural references, to the kinetic camera work and the repetitive use of Mama's and Papa's "California Dreaming" (you'll end up loving the song or it'll drive you insane, for me it was the former) all makes up for it's paper thin narrative with it's avant garde visual style. Very much a Hong Kong art house flick akin to the New Wave French films created by film makers like Jean Luc Goddard and Francois Truffaut.


It's a film that will excite many of those who are film-literate (or a moderate knowledge of the film language) but for many modern audiences, I feel, will be a little bit less engaged by the whole thing. For those willing to try something different visually and unconventional in terms of narrative, you can't go wrong with this expressive piece of work with a finale that is ambiguous and lets you paint your own conclusion as to what happens to it's characters.

18/20

Moon (2009) with Trailer

It is hard to write a review without giving away too much as to not spoil your surprise or enjoyment, but just watch the trailer and you will get the basic premise of the film but luckily it doesn't show you everything that will ruin the overall pleasure.

The film starts us off with stock footage telling us that the Earths natural resources are pretty much used up and more environmentally friendly sources of energy can be found on the moon. This is where majority of the film takes place.

Sam Bell (Sam Rockwell), is nearing his 3 year stint on the moon with only Gerty (voiced by Kevin Spacey) as his reliable and only companion, he is most certainly looking forward to going home, but not everything goes according to plan. After 3 years of isolation and no contact with the outside world (he only receives delayed video transmission from Earth via satellite link) he begins to see things (an unknown woman on the base) and notices minor glitches in video playback and archive footage of himself he doesn't remember recording. When one of the mining vehicles stalls, Sam goes out to investigate only to find his hallucination reappearing on the surface of the moon which causes him to crash.When he wakes up in the infirmary, he has no recollection of the crash. This is when the real mystery and marvel of the film begins

The recovered Sam notices that the mining vehicle is still not in proper working order but Gerty denies him access to go outside. When Sam manages to convince Gerty to let him check it out, he comes across an abandoned lunar vehicle next to one of the mining vehicle and finds an unconscious body. "His" unconscious body....

This film is outstanding and the performance by Sam Rockwell is superb (he was criminally denied a nod for best actor). The main driving force in the film, is that Sam is able to portray himself as two different characters and the amount of sadness and loneliness he displays when he is alone is a complete contrast to the anger, frustration and confusion that he shows as the 2nd Sam Bell. The supporting vocals from Kevin Spacey also provides the film more of the feeling of isolation and alienation. Its all done very monotonous way but he does convey human emotions via emoticon.

Little touches within the film are marvellous and subtle. The use of Chesney Hawkes "The One and Only" is so ironic and apt used that it is the probably only time I would ever tolerate his music. The score as well is very haunting and very effective. Clint Mansell (Requiem For a Dream) once again creates the perfect ambient and mood.

We see the influences worn clearly on its sleeve. The sets and designs are very in keeping with other sci-fi classic. White minimalistic interiors (2001, Alien) and a computer called Gerty who is very HAL-like (also 2001) and vast emptiness of space. It's very much a throwback to old 70s and early 80s sci-fi films. Scenes are reminiscent of films like Silent Running and Outlands. Films like these are not always about alien invasions and this is one that questions, why are we here and who are we really....

The general themes on what makes us humans and what is humanity are very apparent and asks you questions on what really makes us who we are. Is it our ability to dream, think, desire and to feel... The portrayal of these human qualities by Sam Rockwell gives the film its heart and soul. We are all rooting for him to make it home because of the suffering and desire to see "his" loved ones is so overwhelming. We start off with a man waiting to go home only for it to turn out to be a film about identity.

It is an intelligent and very thoughtful piece of science fiction with a deeply affecting performance from Sam Rockwell. With no other major actor (bar Kevin Spaceys voice and video footage via satellite) it is a wonderful and mesmerising display of skill and nuances from Sam Rockwell that even if you don't enjoy sci-fi movies you have to tip your hat in acknowledgement of his "one" man show.

18/20

Assault on Precinct 13 (1976) with Trailer

A modern interpretation of an old western classic (Howard Hawks' Rio Bravo), it is a tense and tightly movie directed by the master of horror John Carpenter. It uses the old classic formula of a siege film done with a really small budget and shot in a relatively small amount of time (20 days I believe).


This re-make is relocated to modern 1970s LA and the action is set primarily in a soon to be abandoned police precinct. The narrative is very simplistic but very effective. The screenplay is so efficient no action is played out without pushing the narrative further. Every little detail placed within the film allows the film to flow without any unnecessary dialogue.

Napoleon Wilson (Darwin Joston)

The film starts off with the mysterious and menacing street gang wandering through an alleyway where they are ambushed by the police and are shot and killed. The remaining gang members forge a blood pact and aim to take no prisoners for the consequences of the slaying of their fellow gang members. The whole set up is done very quickly thereafter. We are introduced to the hero, Ethan Bishop (Austin Stoker) and the archetypal anti-hero Napoleon Wilson (played with glee by the late Darwin Joston) in the first 10 minutes. Other characters come on screen and within minutes we can follow their preordain destiny. The father and daughter's path is on a collision course with the gang and the near abandoned police station is the setting for the unrelenting siege by the gang ready to kill any and all who get in their way.

The build up to it, is very expertly handled and the emotionless and remorseless gang move with such determination and purpose they become almost inhuman in their actions. Almost zombie like. There is hardly any dialogue and when they are shot and killed they barely make a sound and die lifelessly. It bears a remarkable similarity to The Night Of The Living Dead, what with both having black actors as their main leads and both being about the struggle and their ability to handle the unrelenting siege from the masses..

Ethan Bishop (Austin Stoker)

It is without a doubt a remarkable achievement from John Carpenter and his gift as a composer is apparent (as with majority of his features) and is very effective at conveying a sense of dread and suspense. You can always tell if it's a John Carpenter movie just by listening to the atmospheric ambiance and his adept nature in efficient story telling. The acting isn't always great but what the film lacks in dramatic acting it makes up for suspenseful action. Always enjoyable to watch and one of Quentin Taratino's favourite films (but that shouldn't be the only reason to watch it). Search it out and you will not be disappointed. Oh and please try not to confuse this with the recent re-make starring Ethan Hunt and Laurence Fishburne, even though its has a bigger budget and bigger stars doesn't make it a better film... I'll just leave you this comment....Got a smoke...?

17/20

Let the Right One In with Trailer

Let me just start off by saying this is my favourite film of last year. I rant and rave about this film to anyone who is willing to listen. I even managed to convince my partner to watch it and she thoroughly enjoyed it too.


As people may know by now, Let The Right One In is a "vampire" film which has been recently remade by Hollywood (Let Me In). Anyone wishing to see Let Me In, I urge you to start with this little gem, (even if you are not going to see the remake) I recommend you to go and rent/buy/steal/beg/borrow or by whatever means you can. It's a refreshing and rewarding experience.


The title refers to the Morrissey song "Let The Right One Slip In" and to the element of vampire folklore (for those of you not in the know, never invite a vampire into your home!) but what stands this film apart is that it doesn't play out like your stereotypical vampire film. Its a film about kids that happen to feature vampires (whereas Let Me In is a film about vampire that happen to feature kids....).


Let The Right One In is based on an international best seller and has been translated into numerous languages. It has also been nominated for and won loads of independent film awards. Its just a pity not enough people will see it just because they have to read subtitles. I am dreading anyone going to see the remake and not recognising this brilliant original film.


The film is set in 1980s Sweden where we follow a boy named Oskar (Kara Hedebrant) who recently has had new neighbours move into his block of apartments. The new arrivals are a "twelve" year old girl Eli (Lina Leandersson) and her "guardian" Hakan (Per Ragnar). The film makes no bones to hide the fact that Eli is a vampire, we see windows being boarded up and in the first few minutes Hakan goes out to syphon blood out of an unsuspecting victim.

Eli (Lina Leandersson)

The pace is quite meticulous. It slowly builds up to an inevitable ending but it doesn't mean that there isn't anything going on in between. The story unfolds to show us a blossoming friendship that develops between the Oskar and Eli. Their initial meeting outside their apartment block shows us how coy and lonely they both really are. Oskar is being bullied at school and at night he often fantasizes about exacting revenge on his tormentors. Eli catches him whilst he is stabbing a tree. She tells him abruptly that they can't be friends and he in reply tells her who said I want to be friends and from there on in they end meeting with one another every night and they begin to bond.


When Oskar gets a whipping from the bullies no one figures out what has really happened but Eli. He builds up a trust in her and Eli advises him to hit back and hit back he does. Oskar finally feels happy that he has found a friend that he can trust and makes him feel confident. But as we go on, bodies start to pile up and Oskar begins to realise that Eli isn't a normal girl, their friendship is put to the test when the locals suspect Oskars' new neighbours.


What gives this film its strength are the performances of both leads. The white setting of the snow gives the film a bright and innocence to it and the soundtrack is beautifully subtle and haunting. The CGI is used effectively and seamlessly. Its the story about loneliness and friendship that sets this film apart from being your average vampire flick. Yes, there are scenes of vampirism and sudden acts of violence but it isn't out and out gore. There are tender moments within the film and you learn to care about Oskar and Eli. A friendship that overcomes differences and obstacles. Watch, enjoy and recommend to others...
20/20

Hidden / Caché withTrailer (2005)

Right, where do I start off. This film you will either love or hate. As with most films directed by Michael Haneke you'll either adore his films or think that they are just a waste of time. I still haven't made up my mind on him just yet but I did find this film fascinating.

We start off with video footage being played by a family who receives it by an unknown sender with no clue as to what they are after. The video is a static shot of the front of their house. We watch it as the main leads watch (we only find out the first scene is actually the video the main leads are watching when the footage starts to be rewound). It's all very intriguing and interesting.

What we have is more of a character study on the affects of being watched/stalked and the feeling of unease and the violation of being spied upon. As we continue with the family's distress, little information is revealed slowly and progressively and we find out that Georges Laurent (Daniel Auteuil) is hiding a secret from his past that he does not want to disclose.

This isn't your usual thriller, I'm not sure you could even call it that but there is a moment of shock within the film whether you see it coming or not but it's too slow and languid for it to be an exciting and dramatic picture. There are plenty of long and deliberate shots which slows the pace of the film to a crawl. The acting by both leads Daniel Auteuil and Juliette Binoche are outstanding as they portray a family trying to come to terms with their terrorising ordeal very effectively. Though there is no real threat and nobody really is in danger apart from the feeling and dread that someone is watching them.

It's more of the way Georges tries to deal with his past that causes the main problems between him and his wife not the videotapes. He begins to lie (he even lies to his own mother when she clearly knows something is troubling him) and conceals his actions when he tries to confront who he believes to be the antagonist . Further strain is placed upon their relationship when Anne (Juliette Binoche) is sent a videotape of her husband being caught threatening the suspected tormentor. When he decides to confess his past to his wife it's all too late, by that point she begins to distrust him. Unfortunately, Georges is not the only one with a secret to hide. Anne Laurent appears to be having an affair (or that is what is implied) and even the son has a secret he's hiding.....

I know for a fact this will not be everyones' taste. Its very slow and can be inconsequential, but no scene is really that inconsequential. You begin to wonder is there any point or purpose to this. What starts out to seem like your normal stalk and chase thriller ends up with something a little bit more refined and a little obscure and obtuse in it's general approach. Its open to interpretation what the real agenda is? Is it about race, jealously or is it about the lengths we are willing to go to, to hide our guilty secrets. There are many layers to this film which some viewers maybe are not willing to persevere with or to mull over. Some people may be annoyed about it's lack of resolution but keep watching and pay attention. We are offered something in terms of an ending (if you can spot it) but what you make of it, is up to you.

14/20

Triangle (2009) with Trailer

Director Christopher Smith (Creep and Severance) has pieced together a superbly written story about a young single mother Jess (played by Melissa George) who was invited by her friend Greg (Michael Dorman) to his yacht for a leisurely Saturday cruise. Also on board are Greg's friends Victor, Downey and his wife Sally (who also brings along an unexpected guest Heather). When Jess arrives at the harbour, nothing seems quite right (you'll understand why later on), without giving too much away they set sail and suddenly the wind drops leaving them stranded A storm happens to be brewing ahead of them and before they could do anything, the yacht gets caught up and is turned over by a wave with one of the crew members being swept away. What happens next is the start of the never ending nightmare for them all.

When the storm dies down quietly approaching them is an ocean liner, The Aeolus. A deserted ship with only a shadowy figure on deck they spot as they call out for help. They jump on board to try to find their missing friend and to alert the coast guard for help but as arrive onto the deck, Jess gets a sense of deja vu.

The basic premise is that the shadowy masked figure turns out to be hunting them down and Jess is the only one who has the answers as to why 'they' are doing it.

When we get into the interiors of the ocean liner you can see the references to The Shining. Long corridors, writings on mirrors, even the room number 237 (where Jack Nicolson character discovers the evil spirit) makes an appearance in this film. The whole ship is a complete maze just like the hotel. 

What I really like about this film is that there are a lot of pieces to this puzzle which all becomes apparent as the film goes on. It's intriguing how it all works and how Jess is forever battling on to change her destiny. There are so many little clues within the dialogue that you would only notice upon a second viewing. It is definitely a film you need to watch twice to completely appreciate the effort and the logistics on how and why everything is played out the way it does.  

What you'd expect to be a stalk and slash horror film turns out to be a very ingenious little psychological trip. You might be surprised when the masked killer is revealed but then again you might not, this isn't the main objective of this film. The acting is above average, the plotting and script is excellent. I can't recommend this film more highly. I was pleasantly surprised by how the film turns out and  very impressed on how it all fitted neatly together.

When you finish this film, you'll also see why the seagull is so important to the film. It follows Jess all the way through the film caught on the same path as protagonist.Without the seagull we'd have no film.....

Pay attention to the opening scene as well as it is also the beginning of the end (quite literally).

Definitely one to pick up and watch over and over and over and over....

17/20

The Descent: Part 2 (2009)

Made off the back of the success of the first film, Jon Harris (editor from the first movie) takes the helm in his first directorial feature. This film follows directly from the previous film with Sarah (Shauna Macdonald) being the only known survivor from the last cave expedition. Unfortunately she comes out with a little memory loss as to what has happened to her and her friends. The local sheriff doesn't show any compassion and takes her down back into the caves with a rescue team to look for her friends.

There isn't anything wrong with this film but there isn't anything to elevate it to stop you feeling that it's just a quick cash in from the previous film moderate success. The film follows suit with Neil Marshalls original and maintains it's very dimly lit scenes (It can feel a bit claustrophobic and tight in some scenes so people with an aversion of the dark and feeling trapped should probably steer clear) with lighting used to a minimal and only lit up via torches or helmet lights. Instead of it being a caving exploration with friends, its now a rescue mission to find the fate of the others that didn't make it out.

Unfortunately the film does fall flat from obvious set pieces with both dialogue and characters. Are we suppose to care about the rescue team....probably not. Is it a bit too convenient for Sarah to come out with amnesia just to get her back into the caves? Yes, I believe so. The story all feels a bit rushed. It's like "How can we get them back into the caves as quick as possible". There's a distinct lack of character development.

Some of the efforts to flesh out the characters are done not so subtlety but I believe the film makers are trying to connect itself to the last outing (Deputy Rios is shown on the phone speaking to her child giving the viewer the only other character to give a damn about besides Sarah). 


All in all it is a very by the numbers sequel. Nothing new or original to speak of. Some of the techniques used from the last film reappear. Camera focuses on foreground with sudden movement in background, camcorder night vision used for clearer view....it is all done effectively but its just feels like a bit of a re-hash. But then again, what was I expecting. There is buckets of gore and blood but without any of the emotional connection we had for the previous films' character (they do all appear though, admittedly in the form of found footage from their discarded camcorder)


It is a competent film with none of the first films general feeling of suspense or danger. Godfather II this isn't. But for all those suffering from claustrophobia and/or nyctophobia  looking for a scare, this film may do the trick. Otherwise I'd save your money and watch the original.


11/20

The Descent Part 2 (Trailer)

Zatoichi (2003)

Zatoichi is another big screen outing for the popular Japanese fictional character the blind swordsman. The character started  life out on the small screen before becoming a big screen attraction. The last film that was made about Zatoichi was in 1989 and this is a successful remake for today's audience. (A big box office smash hit in its own country).

The film is directed, written, edited and stars probably Japans most famous face Takeshi Kitano. Famed in his own country first and foremost as a comedian, though he has started to develop a body of work which gives him a more credible career in films as a director and movie star.

He takes the lead role as Zatoichi (in his usual deadpan way) and from the opening scenes we can see how the tone of the film is set. There's a delicious, dark and deftly touches of humour within the film which contrasts well with the limbs and blood splatting across the screen. It is in keeping in tune with his previous works, as most of his films are played with a smidgen of dark humour with tons of on-screen violence but that's what gives this film an offbeat charm.

The plot of the film is about a town that's gripped with fear when a warring gang bullies the citizens for money. Set in 19th century Japan the films opens with our hero being engaged by a group of swordsmen with the intent to kill him. Unfortunately for the group they underestimate Zatoichi and he dispatches them with ease.  His path takes him to the town where he comes across one the towns folk whom he helps home. She offers him a place to rest for the night and in reply for her kindness he gives her a massage (he poses as a masseur). Relaxed and de-stressed she explains the how towns current plight and hardship rest solely with the unforgiving and uncompromising gang, Ginzo.

The story is very reminiscent to a classic western where a drifter wanders into a troubled town and turns over the local mob and restores some sort of balance and happiness. It may well be a predictable tale but its done with flair and aplomb. The only criticism I would have is that the back story of the Geisha girls. Mid point through the film it flashes back to how they had to coped and it was unnecessary and I for one wanted to get back to more limbs and blood splattering. The point of them avenging the death of their loved ones is enough motive for us to establish their reasoning. Another let down is the master less ronin who joins up with the gang and his climatic fight with Zatoichi. Theses are just minor flaws in an otherwise brilliant quirky and offbeat samurai movie.

The choreography is handled very well, it has none of the wire work (a la Kill Bill) that you may have expected but it doesn't really need it as the swordplay is done to a high degree of realism. CGI effects is used for the blood and it tends to spray across the screen  in an unrealistic way which sort of softens the shock of limbs and other bodily mutilations. It is an enjoyable fable with tons of violence with a huge slab of dark comedic moments. It offers nothing too original in the way of story telling but it is done in a very entertaining and highly stylized fashion. Oh and if you were wondering if Hollywood are going to remake it or bring Zatoichi to the mass market, they've already tried it in 1989 with a film called Blind Fury (starring Rutger Hauer). I wouldn't bother with that one, stick to this one.

15/20

Lat Den Ratte Komma In ( Let The Right One In ) (2008)

Let me just start off by saying this is my favourite film of last year. I rant and rave about this film to anyone who is willing to listen. I even managed to convince my partner to watch it and she thoroughly enjoyed it too.

As people may know by now, Let The Right One In is a "vampire" film which has been recently remade by Hollywood (Let Me In). Anyone wishing to see Let Me In, I urge you to start with this little gem, (even if you are not going to see the remake) I recommend you to go and rent/buy/steal/beg/borrow or by whatever means you can. It's a refreshing and rewarding experience.

The title refers to the Morrissey song "Let The Right One Slip In" and to the element of vampire folklore (for those of you not in the know, never invite a vampire into your home!) but what stands this film apart is that it doesn't play out like your stereotypical vampire film. Its a film about kids that happen to feature vampires (whereas Let Me In is a film about vampire that happen to feature kids....).

Let The Right One In is based on an international best seller and has been translated into numerous languages. It has also been nominated for and won loads of independent film awards. Its just a pity not enough people will see it just because they have to read subtitles. I am dreading anyone going to see the remake and not recognising this brilliant original film.

The film is set in 1980s Sweden where we follow a boy named Oskar (Kara Hedebrant) who recently has had new neighbours move into his block of apartments. The new arrivals are a "twelve" year old girl Eli (Lina Leandersson) and her "guardian" Hakan (Per Ragnar). The film makes no bones to hide the fact that Eli is a vampire, we see windows being boarded up and in the first few minutes Hakan goes out to syphon blood out of an unsuspecting victim.

Eli (Lina Leandersson)

The pace is quite meticulous. It slowly builds up to an inevitable ending but it doesn't mean that there isn't anything going on in between. The story unfolds to show us a blossoming friendship that develops between the Oskar and Eli. Their initial meeting outside their apartment block shows us how coy and lonely they both really are. Oskar is being bullied at school and at night he often fantasizes about exacting revenge on his tormentors. Eli catches him whilst he is stabbing a tree. She tells him abruptly that they can't be friends and he in reply tells her who said I want to be friends and from there on in they end meeting with one another every night and they begin to bond.

When Oskar gets a whipping from the bullies no one figures out what has really happened but Eli. He builds up a trust in her and Eli advises him to hit back and hit back he does. Oskar finally feels happy that he has found a friend that he can trust and makes him feel confident. But as we go on, bodies start to pile up and Oskar begins to realise that Eli isn't a normal girl, their friendship is put to the test when the locals suspect Oskars' new neighbours.

What gives this film its strength are the performances of both leads. The white setting of the snow gives the film a bright and innocence to it and the soundtrack is beautifully subtle and haunting. The CGI is used effectively and seamlessly. Its the story about loneliness and friendship that sets this film apart from being your average vampire flick. Yes, there are scenes of vampirism and sudden acts of violence but it isn't out and out gore. There are tender moments within the film and you learn to care about Oskar and Eli. A friendship that overcomes differences and obstacles. Watch, enjoy and recommend to others...

20/20

Triangle (2009)

Director Christopher Smith (Creep and Severance) has pieced together a superbly written story about a young single mother Jess (played by Melissa George) who was invited by her friend Greg (Michael Dorman) to his yacht for a leisurely Saturday cruise. Also on board are Greg's friends Victor, Downey and his wife Sally (who also brings along an unexpected guest Heather). When Jess arrives at the harbour, nothing seems quite right (you'll understand why later on), without giving too much away they set sail and suddenly the wind drops leaving them stranded A storm happens to be brewing ahead of them and before they could do anything, the yacht gets caught up and is turned over by a wave with one of the crew members being swept away. What happens next is the start of the never ending nightmare for them all.

When the storm dies down quietly approaching them is an ocean liner, The Aeolus. A deserted ship with only a shadowy figure on deck they spot as they call out for help. They jump on board to try to find their missing friend and to alert the coast guard for help but as arrive onto the deck, Jess gets a sense of deja vu.

The basic premise is that the shadowy masked figure turns out to be hunting them down and Jess is the only one who has the answers as to why 'they' are doing it.

When we get into the interiors of the ocean liner you can see the references to The Shining. Long corridors, writings on mirrors, even the room number 237 (where Jack Nicholson character discovers the evil spirit) makes an appearance in this film. The whole ship is a complete maze just like the hotel. 

What I really like about this film is that there are a lot of pieces to this puzzle which all becomes apparent as the film goes on. It's intriguing how it all works and how Jess is forever battling on to change her destiny. There are so many little clues within the dialogue that you would only notice upon a second viewing. It is definitely a film you need to watch twice to completely appreciate the effort and the logistics on how and why everything is played out the way it does.  

What you'd expect to be a stalk and slash horror film turns out to be a very ingenious little psychological trip. You might be surprised when the masked killer is revealed but then again you might not, this isn't the main objective of this film. The acting is above average, the plotting and script is excellent. I can't recommend this film more highly. I was pleasantly surprised by how the film turns out and  very impressed on how it all fitted neatly together.

When you finish this film, you'll also see why the seagull is so important to the film. It follows Jess all the way through the film caught on the same path as protagonist.Without the seagull we'd have no film.....
Pay attention to the opening scene as well as it is also the beginning of the end (quite literally).

Definitely one to pick up and watch over and over and over and over....

17/20

Introduction

Hello there and welcome to my Blog. I would just like to say that this is my first attempt at a Blog and if anyone has any ideas on how to improve things please let me know.

I decide to start this up to show my love for films and what I really wanted to do for a living but that was just a dream. I have always loved watching films and feel that I have a better than average knowledge on anything film related. This is my own personal opinions on any film related topics.

I am 32 and have a wide range of taste in films. My favourite films include Aliens, The Thing (1982) Halloween, The Killer, Let The Right Ones In, Se7en, Pulp Fiction, Chungking Express, Donnie Darko, Dawn Of The Dead and many more (those are the ones i can think of, off the top of my head).

I do mainly watch alot of horror but i have started watching the classics like Singing In The Rain, The Night Of The Hunter, The Seventh Seal and alot of Hitchcock. So I am trying to look upon the past to gain insight and influences to our modern pictures of today.

There is so much to enjoy and yet so little time to enjoy it. I try to watch one film a day just to catch up on all the films I have missed out on. I will always try to watch a film more than once to get a better feel and to catch anything I may have missed out on. I will try to look at a film objectively and give my honest review but if you don't like it then be constructive and tell me why you disagree.

I'm going to start on a few films I love to get the ball rolling....if there is anything anyone would like a review on and I have seen it, I will try to get round to reviewing it

Thanks for visiting and I hope you enjoy what I have to write about and will try to post a review of a film every week. When I get better at this, I will try to review a film a day.

FS