Tag Archives: DEATH

NETFLIX FILM REVIEW – I’M THINKING OF ENDING THINGS (2020)

NETFLIX FILM REVIEW – I’M THINKING OF ENDING THINGS (2020)

Directed by: Charlie Kaufman

Produced by: Anthony Bregman, Charlie Kaufman, Robert Salerno, Stephanie Azpiazu

Screenplay by: Charlie Kaufman (Based on: I’m Thinking of Ending Things by Iain Reid)

Cast: Jesse Plemons, Jessie Buckley, Toni Collette, David Thewlis

Music by: Jay Wadley

Cinematography: Łukasz Żal

***MAY CONTAIN SPOILERS***



I read some background information online about Charlie Kaufman’s latest film adaptation for Netflix, I’m Thinking of Ending Things (2020), and there is a leaning to describe it as a psychological horror. Of course, in order to market their films, studios write copy to entice an audience for their film. However, this adaptation of Iain Reid’s novel is far more than a psychological horror. It has elements from a whole plethora of genres including: surrealism, comedy, romance, thriller, arthouse, road movie, and even dance, animation and musical genres. Safe to say that once again Charlie Kaufman has delivered yet another ingenious cinematic smorgasbord that defies easy categorization. But is it any good?

The film opens gently with the lilting voice of Jessie Buckley’s voiceover. We hear her character deliver a set of poetic existential queries, and her mantra throughout the film: “I’m thinking of ending things. . .” over a set of seemingly unconnected images. She waits for her boyfriend of a couple of months, Jake (Jesse Plemons), as they plan to meet his parents, portrayed by David Thewlis and Toni Collette, for the first time at their farm. So far, so straightforward; kind of. However, as Jake and the young woman’s (whose name changes during the film) drive through picturesque and snowy landscapes, Kaufman intercuts to an elderly Janitor going about his cleaning duties at a high school. How these juxtaposed situations eventually marry together is open to many interpretations. While certainly obtuse and narratively impenetrable to many, I really connected with Kaufman’s surreal trip. Because I’m Thinking of Ending Things (2020) is certainly as much about the journey than the ultimate destination.


As he has demonstrated since his debut feature film screenplay, Being John Malkovich (1999), Kaufman has an urgent desire for original invention, sight gags, existential examination, exploration of mental health, relationship breakdowns, non-linear structure and intellectual discourse. The respective journeys of characters like Jake and the young woman are taken by road and in the mind. Whose mind the film is in and out of is also open to question. The car journey is treacherous both due to the weather and the anxious tension between the couple. This is brought about by the young woman desiring to end things. Is it her life or her relationship she wants to end? Or is it both? Things between the two aren’t made easier by the surreal visit to Jake’s parents’ farm. Thewlis and Collette inject much humour and pathos into their characters. Their performances, a succession of visual punchlines and the brilliant dialogue combine to really bring the film to life during the middle act.

After the couple leave the parents’ farm and head back home, events get even stranger as connections with the aforementioned Janitor intensify. An extremely anxious pitstop at an ice-cream parlour, an animated pig and a ballet dance sequence threatened to destabilize the narrative. But once I had suddenly interpreted my truth and understanding of Iain Reid’s and Kaufman’s vision, it all kind of almost made sense. Indeed, compared to Kaufman’s surreal meta-fictional masterpiece, Synecdoche, New York (2008), I’m Thinking of Ending Things (2020) is arguably more accessible, funnier and less bleak.

Having said that, given Kaufman’s predilection for characters on the edge of nervous, depressive and existential breakdowns, some may find this film’s journey tough to complete. But I loved the invention and constant ideas on show throughout. Kaufman’s takes risks structurally, visually and thematically and I congratulate him for challenging the audience. Lastly, I’m Thinking of Ending Things (2020) has a wondrously cinematic look, sound and dreamlike feel to it. Plus, in Jessie Buckley and Jesse Plemons, Kaufman has cast two exceptional acting talents, who are certainly worth going on the road with. However, bizarre and twisted that road may be.

Mark: 9 out of 11


AMAZON FILM REVIEW: THE LIE (2018)

AMAZON FILM REVIEW: THE LIE (2018)

Directed by: Veena Sud

Produced by: Jason Blum, Alix Madigan, Christopher Tricarico

Written by: Veena Sud

Based on: We Monsters by Marcus Seibert and Sebastian Ko

Cast: Mireille Enos, Peter Sarsgaard, Joey King, Cas Anvar, Devery Jacobs, etc.

Music by: Tamar-kali

**MAY CONTAIN SPOILERS**



It’s a difficult job writing a screenplay. There are a myriad of choices to be made and you can make good ones and also terrible ones. That’s why many film scripts go through many drafts and, in certain cases, many different writers. As a screenwriter myself I am always fascinated by the decisions that are made at script stage. More specifically, I often struggle with the choice of making characters empathetic or taking a risk and possibly making them unlikeable. I mean, why should the audience get involved in the story if the characters are loathsome or at the very least, there is little empathy for their situation? Sometimes the central premise is strong enough that the characters do not necessarily have to be likeable, as long as the conflict they face is compelling enough. But what if the characters make really bad decisions or the writer makes bad decisions for them? How long before the audience give up on the characters because they are just so stupid?

Centred on the Logan Family consisting of teenager Kayla (Joey King), her mother Rebecca (Mireille Enos) and estranged father, Jay (Peter Sarsgaard), The Lie (2018), poses the highly dramatic question: how far are you willing to go to protect your child? The film opens with Jay driving Kayla to a ballet retreat in the wintry Canadian woods. They pick up her friend Brittany (Devery Jacob), but during the trip a tragedy occurs and Kayla, after an argument, pushes Brittany off a bridge. Jay and Rebecca then decide, against all moral and legal judgement, to attempt to cover up Kayla’s crime. Clearly this decision is wrong, and their crimes are exacerbated by the fact that Kayla is either emotionally unhinged or socioopathic. Indeed, Joey King’s performance, while admirable, veers inconsistently from scene to scene. But I guess that’s the nature of her character. However, because of this and Kayla’s parents terrible life choices, I ultimately found the Logan’s very difficult to empathise with.

Based on a German film called We Monsters (2015), this Blumhouse production for Amazon takes a brilliant idea and kind of throws it away with a weak set-up and increasingly dumb decisions by the main characters. But, as I say, it’s a great premise that Hitchcock in his heyday would’ve had a ball with, such are the intriguing twists and turns present. But Hitchcock would have made you feel connected to the Logan family and given them even more powerful reasons to cover up the crime. Don’t get me wrong, I actually really enjoyed this B-movie thriller. I was able to shout at the television throughout with a high moral superiority over the characters. When the final act twist comes, and it’s a good one, I was genuinely laughing at the stupidity and tragedy of their actions. We are all prisoners of our own life choices and this entertaining but daft thriller certainly proves that.

Mark: 7 out of 11

NETFLIX FILM REVIEW: JUNGLE (2017)

NETFLIX FILM REVIEW: JUNGLE (2017)

Directed by: Greg McLean

Produced by: Todd Fellman, Mike Gabrawy, Gary Hamilton, Mark Lazarus, Dana Lustig, Greg McLean

Screenplay by: Justin Monjo

Based on: Jungle by Yossi Ghinsberg

Cast: Daniel Radcliffe, Alex Russell, Thomas Kretschmann, Yasmin Kassim, Joel Jackson, Jacek Koman etc.

Music by: Johnny Klimek

***MAY CONTAIN SPOILERS***



It’s one of my least favourite sub-genres of cinema and literature: the survivalist story. Don’t get me wrong, I have nothing against an individual striving to find themselves or seek out adventure. I don’t wish them ill or death and am glad they somehow survived, or alternatively, not glad they perished. However, I do have problem when it all goes wrong and they end up gaining fame or money or praise for poor life choices. They are not heroes or heroines but narcissistic thrill seekers, generally from a privileged standing who get films made about them as apparently their stories are inherently cinematic.

Begrudgingly, I admit, in many circumstances such as: 127 Hours (2010), Into the Wild (2007) and Touching the Void (2003), survivival stories create compelling film narratives. Alas, the film Jungle (2017) is nowhere near as good as those films I mention, but it provides a means to escape to the dark corners of the Amazon from the comfort of one’s own living room.  The moronic characters we follow into said jungle are led by Daniel Radcliffe’s, Yossi. He and two friends decide, against the advice every audience member screaming at the screen, to broaden their selfish adventurous spirits by going native with Thomas Kretschmann’s shady German guide. Safe to say, after experiencing the unforgiving terrain, torrential rain and strange creatures in the jungle, this middle-class trio find they are well out of their depth. Thus, very slowly the film crawls like a giant slug toward further catastrophe.

Jungle (2017) is not a bad film, but it isn’t a particularly good one. The direction and cinematography are excellent and Daniel Radcliffe proves he is an exceptionally honest actor. Radcliffe works his guts out with a shell of a character we rarely care about or empathise with. Perhaps that’s the point? Maybe it’s a cautionary tale about how Yossi stops being such an arsehole and learns to appreciate life and the environment. My main issue was the screenplay, which rushes to get us in the jungle and then takes an age to get to the real drama. What was great about a film like Into the Wild (2007), also based on a true story, was Christopher McCandless was a character who rejected society to find his own place in the world. He wasn’t just a tourist on a holiday that went a bit wrong. I mean, in Jungle (2017), people lost their lives, but the greatest tragedy was the film doesn’t make us care about them at all.

Mark: 6 out of 11


SKY CINEMA REVIEW: THE HUNT (2020)

SKY CINEMA REVIEW: THE HUNT (2020)

Directed by: Craig Zobel

Produced by: Jason Blum, Damon Lindelof

Written by: Nick Cuse, Damon Lindelof

Cast: Ike Barinholtz, Betty Gilpin, Amy Madigan, Emma Roberts, Ethan Suplee, Hilary Swank etc.

Music by: Nathan Barr

Cinematography: Darran Tiernan

*** MAY CONTAIN SPOILERS ***


RKO’s movie, The Most Dangerous Game (1932), based on a short story by Richard Connell, is a genuine B-movie delight with a great villain named, Count Zaroff, plus solid lead performances from Joel McCrea and Fay Wray. The simple, but ingenious story involves the Count hunting shipwrecked humans on his remote island. This thrilling premise has been adapted numerous times over the years and the latest one, produced by Blumhouse Productions, is called The Hunt (2020). Arguably, the best version of this story is the Japanese classic, Battle Royale (2000), where high school kids are charged with killing each other to win a prize: their life!

Craig Zobel directs The Hunt (2020) from a screenplay by Damon Lindelhof and Nick Cuse. While The Most Dangerous Game (1932) had big-game hunting and murder-as-sport as a theme, and Battle Royale (2000) was essentially about the control of juvenile delinquents, The Hunt (2020) instils the mayhem, traps and violent deaths with a lean toward political commentary. Reflecting the division of Trump’s Presidency and the left/right and North/South divide allows the witty script to deliver gags damning both sides of the political strata. All from rich capitalists to the liberal elite and right-wing conspiracy theorists are satirised mercilessly. Having said that, none of this gets in the way of the breathless pace of shootings, explosions, stabbings and bloodletting.

Overall, what The Hunt (2020) lacks in characterisation and plot credibility, it more than makes up with several tense and funny scenes. You’re never too far away from a gory end or biting punchline or the surprise death of a relatively well known actor. The cast and director do not take this movie particularly seriously, but I must say Betty Gilpin as Crystal Creasey was brilliant. Energetic Gilpin takes a thinly written character and provides much personality, as well as an impressive physical presence in the many well-choreographed fight scenes. Ultimately, The Hunt (2020) will excite those who want something undemanding for their Saturday night movie entertainment. I particularly enjoyed several of the cartoon kills in this comedic action thriller. I could take or leave the social commentary, because for me politics is the most dangerous game of all.

Mark: 7.5 out of 11


TO BOLDLY REVIEW #10 – STAR TREK: NEXT GENERATION (1991 – 1992) – SEASON 5

TO BOLDLY REVIEW #10 – STAR TREK: NEXT GENERATION (1991 – 1992) – SEASON 5

Based on Star Trek & Created by: Gene Roddenberry

Season 5 writers (selected): Michael Piller, Michael Wagner, Rick Berman, Jeri Taylor, Lee Sheldon, Melinda Snodgrass, Richard Manning, Ronald D. Moore, David Bischoff, Joe Menosky, Drew Deighan, Brannon Braga, J. Larry Carroll, Hilary J. Bader, Harold Apter, Stuart Charno, Sara Charno, Maurice Hurley, Susan Sackett, Sara Charno, Stuart Charno, Randee Russell, Peter Allan Fields, Rene Echevarria etc.

Season 5 directors (selected): Jonathan Frakes, Winrich Kolbe, Corey Allen, Robert Weimer, Les Landau, Robert Scheerer, Cliff Bole, Paul Lynch, Chip Chalmers, Timothy Bond, David Carson, Gabrielle Beaumont, Patrick Stewart, David Livingston, Marvin V. Rush, Chip Chalmers, Peter Lauritson, Robert Lederman, Paul Lynch, etc.

Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Wil Wheaton, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, plus guests: Matt Frewer, Ashley Judd, Kelsey Grammer and Famke Janssen etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**** CONTAINS SPOILERS ****



I have just finished boldly watching Season 5 of STAR TREK: THE NEXT GENERATION and it was an extremely excellent raft of science fiction television episodes. I have to say though that TWENTY-SIX episodes was a hell of a lot of TV to produce. I know they had big budgets and an army of staff working on the show, but to produce such high quality viewing, albeit within the established formula, is overall incredibly impressive.

Season 5 was up there in consistency of quality writing, acting and directing with the superlative Seasons 3 and 4. Once again the creatives and storyline team explored issues of the day (i.e. 1990s) and married them to the STAR TREK values and philosophies. Of course, we get the usual alien enemies, such as the Romulans and Ferengi, paying a visit to the Enterprise. Yet, we also found new foes, obstacles and allies encountering the Enterprise. Lastly, the formidable Michelle Forbes as the Bajoran, Ensign Roe, was a welcome addition to the crew.

Sadly, Gene Roddenberry passed away during this particular season’s making. This would cause create sadness in the STAR TREK universe, but the production was, by now in very safe hands, as they paid fine tribute to their creator during Season 5. Here are SIX of the best episodes well worth visiting or revisiting. Live long and prosper.


REDEMPTION – PART II – EPISODE 1

The concluding part to the prior season’s cliffhanger found Lt. Worf (Michael Dorn) continuing to fight for honour alongside his brother, Kurn (Tony Todd), against the Duras hordes. There are many moments of high tension throughout the episode with Dorn impressing again as the divided, but ultimately united and redeemed Klingon. Overall, the episode is full of memorable plot turns and fantastic Romulan and Klingon villains, notably Lursa and B’Etor.

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UNIFICATION – PARTS I & II – EPISODES 7 & 8

Chosen more for nostalgia as opposed to stellar storytelling, UNIFICATION is a two-parter which sees the return of a famous Trek character, namely Spock (Leonard Nimoy). We also get Mark Lenard’s final appearance as Spock’s father, Sarek, as he and Picard (Patrick Stewart) share a thoroughly moving final scene together. The story finds Spock attempting to repair years of conflict between Vulcans and Romulans, however, Starfleet believe he has defected. Thus, Picard and crew attempt another search for Spock. The narrative pace is steady, nonetheless it is great to see Nimoy don the ears and ultra-logic for a further outing as Spock.


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CONUNDRUM – EPISODE 14

While STAR TREK: THE NEXT GENERATION had more than its fair share of emotionally powerful episodes, sometimes a fast-paced and twisting plot with a bit of space espionage was more than welcomed. In CONUNDRUM, the Enterprise crew have their memory wiped by an unknown force dedicated to destroying an alien race. The audience finds suspense and dramatic irony in knowing the crew’s minds have been tampered with as they race against time to prevent war. Riker (Jonathan Frakes) and Ensign Ro’s (Michelle Forbes) simmering sexual tension adds romance and humour to a packed storyline.


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CAUSE AND EFFECT – EPISODE 18

Easily one of my favourite TNG episodes of this and many a season. This is because it features a fantastic temporal-causality loop plot and extremely high stakes where the Enterprise is concerned. Here the crew are trapped in a perpetual time cycle where the end of it results in the destruction of the Enterprise. Essentially GROUNDHOG DAY (1993) in space (even though this episode came before that classic film), it truly fizzes along with a brilliant script and powerful drama. Kelsey Grammer also guests, adding to the overall quality on display.


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I, BORG – EPISODE 23

Could an evil machine ever be humanized? That is just one of the fascinating questions posed in this thoughtful and provocative episode? While they owe much to the Cybermen, the Borg remain a powerful weapon in the STAR TREK storytelling arsenal. The only problem is they are virtually invincible, so tough to write stories for. Rather cleverly in I, BORG, the episodes isolates a single unit and Picard, Guinan (Whoopi Goldberg) and La Forge (LeVar Burton) especially, confront their hatred and desire for revenge. As the Borg unit, or Hugh (an excellent Jonathan Del Arco) as he becomes known, spends time on the Enterprise he positively changes. This provides much to consider for the crew with their emotions shifting toward Hugh/the Borg.


I Borg Star Trek TNG HD.jpg

THE INNER LIGHT – EPISODE 25

Not only is this one of the best episodes of STAR TREK: THE NEXT GENERATION, but it is also one of the best episodes of STAR TREK ever. The story is precipitated by an unknown probe which scans the Enterprise and directs an energy beam at Picard, who wakes up to find himself on Kataan, a non-Federation planet. Here Picard attempts to escape his existence as Kamin, but over time he grows into this strange new life. What begins as a simple body swap plot, unfurls into something all the more emotionally grander. We know Patrick Stewart is a fine actor, but he imbues Picard/Kamin with a gravitas of enormous propensity. I also loved how Picard, the Captain, is humbled by a more domestic life full with life and love. Lastly, Jay Chattaway’s score is absolutely beautiful.


ARROW VIDEO – GOOD , BAD AND WEIRD FILM REVIEWS!

ARROW VIDEO FILM REVIEWS!

In keeping with my theme of branching out and watching different subscribers, last month I paid around £4.99 extra for the ARROW VIDEO CHANNEL via AMAZON PRIME. This gave me access to a whole host of good, bad and very weird films. There are some newish films on there, but mainly the channel contains vintage horror, arthouse and cult movies. This was a good old trip down memory lane for me as it meant I re-watched loads of films which were considered part of the 1980’s “video nasties” era. I also watched a number of films I had never seen before.

If you didn’t know ARROW FILMS is a leading independent entertainment distribution company. Established in 1991, it is dedicated to supporting upcoming and established filmmakers of dynamic new cinema and developing a slate of fantastic films from all around the globe. Moreover, they are also a leading restorer of classic and cult films and enjoy releasing anniversary celebrations of landmark titles. You’ll find some films of both incredible and dubious quality. Safe to say though, such releases are never boring. Lastly, ARROW are never frightened to distribute films previously banned, unreleased or heavily censored. They are true pioneers in the world of cinema. Check out their website here!

***MAY CONTAIN SPOILERS***



THE HORROR! THE HORROR!

If, like me, you love horror films then an Arrow subscription is essential. But before I get onto those, they also have a decent roster of world cinema films. Directors such as Krzysztof Kieślowski, Alejandro Jodorowsky, Susanne Bier, Thomas Vinterberg, Marjane Satrapi, Vittorio De Sica, David O. Russell, Hirokazu Koreeda, Richard Kelly, Bruce Robinson, Rainer Werner Fassbinder and Nagisha Oshima have many of their works distributed by Arrow online and via DVD or BLU-RAY. Indeed, I recently watched and loved Kieslowski’s BLIND CHANCE (1987) and Oshima’s MERRY CHRISTMAS MR LAWRENCE (1983). on the Arrow channel.

Yet, it was mainly the horror and cult movies I concentrated on during my month’s sojourn into Arrow’s back catalogue. Thus, here are some mini-reviews and marks out of eleven for the numerous films I watched.


THE BEYOND (1981)

Insane, surreal and with some incredibly gory deaths, this is perhaps Lucio Fulci’s most illogical, but brilliant film. The imagery and music collude to both sicken and chill in equal measures. It also has one of the most haunting final scenes in horror cinema. Mark: 8 out of 11


THE BLACK CAT (1981)

A truly dreadful adaptation of Edgar Allan Poe’s story which is contemporised badly by Lucio Fulci and his scriptwriters. I dislike cats generally and this revenge story does nothing to appease such negativity. Mark: 2.5 out of 11


THE BURNING (1981)

Pretty decent gore-fest which, while written before FRIDAY THE 13TH (1980), suffers mildly in comparison to that murdered-teenagers-at-camp classic. Famous for being produced by the Weinstein’s and early acting appearances from Jason Alexander, Fisher Stevens and Holly Hunter. Mark: 7.5 out of 11


CONTAMINATION (1980)

Truly terrible, but actually “so-bad-it’s-entertaining” mash-up of ALIEN (1979) and the 007 Bond franchise. Dodgy effects, acting and dubbing make this Italian B-movie laughably enjoyable. Mark: 5.5 out of 11


The Beyond (1981)

DON’T TORTURE A DUCKLING (1972)

An earlier Lucio Fulci film which actually has a decent plot and some disturbing, but compelling scenes and themes. Centred amidst a rural Italian setting, a murderer is running amok killing the village children. A reporter sets out to uncover the murderer as villagers begin to suspect the kids died at the hands of witchcraft. Mark: 7.5 out of 11


THE EXTERMINATOR (1980)

I used to revel in this nasty B-movie revenge film as a teenager. The school yard would have hives of thirteen-year olds chattering about the Doberman attack scene, pimps set on fire and the gangster killed in a meat grinder. Watching it back now, it truly is a terrible piece of filmmaking and an extremely lurid viewing experience. For all its derivative faults, I still loved it! Mark: 7 out of 11


HELLRAISER (1987)

Clive Barker’s cult horror classic is not so much about narrative coherence, but an assault on the senses. That damned mysterious and devilish “Rubik’s cube” is opened, giving way to a whole host of demonic monsters breaking Earth’s dimensions and threatening an Anglo-American family. Powerful visuals, incredibly effective prosthetics and brilliant nemeses in Frank and Pinhead, make HELLRAISER (1987) an extremely memorable low-budget horror cult classic. Mark: 8 out of 11


HELLRAISER II: HELLBOUND (1988)

A direct sequel to the original, but without Clive Barker directing this time unfortunately. HELLBOUND (1988) has some wonderful gore and monstrous moments as Kenneth Cranham’s mad doctor opens up the hellish gates to the beyond. But the surreal storytelling is so deranged and ridiculous I was just laughing by the end. Mark: 5.5 out of 11


Hellraiser (1987)

MANIAC COP (1988)

I love a lot of Larry Cohen’s work, but this is arguably only a minor B-movie script from him. The clue is in the title really as a vengeful cop goes on a kill crazy rampage in the dark recesses of the city. Notable for Bruce Campbell’s turn as a bemused cop suspected of the crimes, plus the impactful silent giant of a killer. Mark: 6 out of 11


THE NEW YORK RIPPER (1982)

While I do not agree with censorship as a rule, I can see why this Lucio Fulci United States shocker was banned in Britain for many years. It is disgustingly violent and misogynistic, verging on pornography in many scenes. The biggest crime is it’s so badly made from a capable filmmaker. Avoid at all costs! Mark: 1 out of 11


RAWHEAD REX (1986)

A gigantic phallic cock-monster called ‘Rawhead’ is woken near an Irish village and kills anyone who gets in his way. Another Clive Barker short story gets a film adaptation and this is awful in every way! Barker hated it and that led to him taking more control of HELLRAISER (1987). Lacking narrative context and even basic filmmaking skills, we are in the “so bad it’s hilarious” camp here. Mark: 3 out of 11


RED EYE (2005)

A rare diversion away from the horror genre finds Wes Craven directing Cillian Murphy, Rachel McAdams and Brian Cox in this fast-paced airplane-set thriller. I had never seen this film before as McAdams and Murphy provide committed performances while possessing excellent on-screen chemistry. Extremely suspenseful for the most part until it gives way to huge explosions and shootouts at the end. Great fun overall! Mark: 7.5 out of 11


Rawhead Rex (1986)

TENEBRAE (1982)

I have to admit that I am not a big fan of Dario Argento’s films generally. I find them imaginative, but mostly loud and nonsensical. Moreover, they have little in the way of suspense or actual scares. TENEBRAE (1982) is another empty Argento exercise in misogyny and style-over-substance as an American writer finds himself pitted against a vicious killer copying murders from his novels. There are some decent horror moments, but the twist is too self-knowing and ridiculous to not find laughable. Mark: 6 out of 11


THE WITCH THAT CAME FROM THE SEA (1976)

Now, this is a weird film. Part-revenge-part-feminist-part-porn-part-horror story that was also banned in Britain as a video-nasty. Millie Perkins gives a haunting performance as a psychologically damaged individual, who is so disturbed by a childhood trauma she kills when in sexual congress. It’s almost a really good film because the characterisation and motivation is well conceived. However, it’s also rather eccentrically acted and directed in places, so approach with great caution. Mark: 6 out of 11


ZOMBIE FLESH EATERS (1979)

This classic zombie exploitation from Lucio Fulci is one I’ve seen many times. While not quite as good as the Romero classics in terms of story and theme, it has so many unforgettably bloody scenes. The moment when a zombie attacks a shark is a horror set-piece you will never forget. As Fulci rips off Romero he spins the undead genre into a frenzy with relentless dirt, maggots, sinew, bone and guts on screen, all the while accompanied by a creepy score by Giorgio Tucci. Mark: 8 out of 11


ZOMBIE FOR SALE (2019)

The most contemporary film I watched from Arrow Video is a riotously funny and moving rom-zom-com from Korea. A rural family find a way of making money out of a zombie who has escaped a science laboratory, however, their get-rich-quick-scheme backfires with bloody hilarious results. While it is overlong, it benefits from a clever script and excellent acting, although it over-does the slow motion scenes and jarring narrative tonal switches. Mark: 8 out of 11



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NETFLIX REVIEW: DARK (2020) – SEASON 3 – AND SO CONCLUDES ONE OF THE BEST TV DRAMAS EVER MADE!

NETFLIX REVIEW: DARK (2020) – SEASON 3

Created by: Baran bo Odar, Jantje Friese

Written by: Jantje Friese, Ronny Schalk, Marc O. Seng, Martin Behnke, Daphne Ferraro

Directed by: Baran bo Odar

Cast: Louis Hofmann, Karoline Eichhorn, Lisa Vicari, Maja Schöne, Stephan Kampwirth, Jördis Triebel, Andreas Pietschmann, Paul Lux, Moritz Jahn, Christian Hutcherson, Oliver Masucci, Peter Benedict, Gina Stiebitz, Deborah Kaufmann, Daan Lennard Liebrenz, Julika Jenkins, Carlotta von Falkenhayn, Tamar Pelzig, Dietrich Hollinderbäumer, Mark Waschke, Leopold Hornung, Christian Pätzold, Will Beinbrink, Hermann Beyer, Christian Steyer, Lisa Kreuzer, Anne Ratte-Polle, Walter Kreye, Lydia Maria Makrides, Tom Philipp, Nele Trebs, Tatja Seibt, Lea van Acken, Shani Atias, Max Schimmelpfennig, Ella Lee, Peter Schneider and many more.

Composer(s): Apparat, Ben Frost

Executive producer(s): Justyna Müsch, Jantje Friese, Quirin Berg, Max Wiedemann, Baran bo Odar,

Cinematography: Nikolaus Summerer

Original Network: Netflix

***MAY CONTAIN SPOILERS***



“Time is an illusion.” ― Albert Einstein


And so the end is nigh, and we reach the final season of uber-drama, DARK. If you have Netflix and you like to have your mind scrambled and heart moved, then I urge you to watch it. It is easily one of the best television dramas I have seen in a long time. It’s edgy, nightmarish, confusing, twisted and to be honest, virtually unreviewable. I say that because I don’t want to give away any spoilers but, trust me, if you like emotionally, structurally and artistically complex plots involving multiple characters, locations and timelines then this German thriller is for you. It had me confused in a good way and totally immersed in the plot and characters. You will be lost, searching for the light, yet you will be astounded too by the audacity of the writing, direction and looping insanity of the show.

Time, space and dimensional rifts are central to the drama. The cycles of life and death are also integral within the fabric of DARK. The action occurs in the German town of Winden as the narrative entwines the past, present and futures of four families: Kahnwald, Nielsen, Doppler, and Tiedemann.  One could argue that the state of Saṃsāra is invoked as a key theme. Saṃsāra is a fundamental concept in all Indian religions. It is linked to the karma theory, and refers to the belief that all living beings cyclically go through births and rebirths. The term is related to phrases such as the cycle of successive existence, including the karmic cycle or the wheel of life. What occurs within the twenty-six episodes of DARK is a cyclical lunar convergence of 33 years, taking place initially in 1987 and 2020. Well, that’s just in season one. From season two onwards things temporally twist beyond into other years on the cycle.

During season two and much of season three I was often lost with the various characters criss-crossing each other on different timelines and at various ages of their lives. I finally found some semblance of understanding in DARK, after much frustration and almost giving up, by distilling the events to the human strands of childhood, adulthood and old age. Like a moving vision of Titian’s painting, The Three Ages of Man, all the major characters, notably Jonas Kahnwald, Claudia Tiedemann and Ulrich Nielsen, feature in these three stages of existence. Interestingly, the programme events show they have different agendas and perspectives, with older versions either teaching their younger selves or acting as their own nemesis. Proving that existentially speaking life is ultimately a constant battle with oneself.



Temporal paradox is central also to DARK. More specifically, it features the Bootstrap Paradox. This refers is a theoretical paradox of time travel that occurs when an object or piece of information sent back in time becomes trapped within an infinite cause-effect loop in which the item no longer has a discernible point of origin. Indeed, closed causal loops, such as the Predestination Paradox or Bootstrap Paradox, find time running in a repeating circle. When such circles over-lap in DARK, conflict is derived in the story because certain characters are trying to keep the loops going and others are trying to destroy them.

Which brings us to another major theme of the drama, the death of the self and death of the world. With the spectre of Chernobyl hanging over the town of Winden, the nuclear power station becomes a central harbinger of catastrophe throughout the various cycles. In the early years it is a beacon of prosperity, energy and employment. In later years it is the precipitous location for the apocalypse. Lastly, philosophically the textual richness in DARK is endless. While temporally speaking the looping timelines can be confusing, the final season, while leaving many questions unanswered provides a satisfying closure to this extremely human story. Amidst the science fact and fiction and philosophical explorations of life and death this is ultimately a television series about family and community. Because as soon as the cracks begin to show in the family unit we are destined to fall through the fissures of destiny. Only together can we conquer fate; but only if time allows.

Mark: 10 out of 11


CINEMA REVIEW: TENET (2020)

CINEMA REVIEW: TENET (2020)

Directed by: Christopher Nolan

Produced by: Emma Thomas, Christopher Nolan

Written by: Christopher Nolan

Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Michael Caine, Kenneth Branagh, Martin Donovan, Clement Poesy, etc.

Music by: Ludwig Göransson

Cinematography: Hoyte van Hoytema

***MAY CONTAIN SPOILERS***



I am writing this review from the future while travelling backwards to the past to try and alter events which have yet to occur in the present. Confused yet? Jokes aside, Christopher Nolan’s latest temporally challenging and narratively inverted blockbuster, TENET (2020), is actually not as complicated as some would lead you to believe. However, that’s because I’ve been training my brain with such mind-boggling adventures in time, space and dimensions while watching the third season of the ingenious German sci-fi drama, DARK (2020), this week. Safe to say however, TENET is still rather complex and probably unnecessarily so. Yet, Christopher Nolan is a filmmaker who loves exploring challenging scientific concepts and marrying them to hugely involving plots and stylish spectacular action. All credit to him too for pushing himself and the audience!

TENET opens with a fast-paced set-piece located at a Ukrainian opera house. A SWAT team, that includes our unnamed hero, (John David Washington), is there to save a spy and obtain an unidentified object, which will of course become an integral part of the plot later or earlier on in the story. From then on, ‘The Protagonist’, as he later becomes known, becomes embroiled in stopping the megalomaniacal plans of Russian oligarch, Andrei Sator (Kenneth Branagh). In order to do so he attempts to infiltrate and stop Sator via his bullied wife, Kat (Elizabeth Debicki). Here the Protagonist builds a bond to Kat and this provides the emotional glue of the film. Although, I’ll be honest, I was too busy thinking about the machinations of Nolan’s head-twirling approach to temporal structure, than actually feel much for the characters.



What the film lacks in emotional depth it more than makes up with spectacular action. There are at least six incredible set-pieces that involve hand-to-hand combat, fast-paced vehicle pursuit, bungee-jumping and all-out combat between various government and mercenary factions. Nolan and his production team twist the action with a visually mirrored trick which, well I won’t say anymore. Moreover, the grandiose style and cinematography are eye-popping. Sharp suits, sharper knives and futuristic masks are adorned by the characters giving the spy thriller a hyperreal edge. Similarly, the stunts and editing are superbly orchestrated and executed. Having said that, the sound design and dialogue could have been better. Far be it from me to criticize, but in striving for verisimilitude in the sound, the constant wearing of masks meant important dialogue lacked clarity. Likewise, in the final amazing set-piece I was lost amidst the bodies and explosions as to who was who and why and what and how. Clearly a second and third watch of TENET (2020) is in order.

While the action was pretty much flawless throughout, the screenplay, unlike say Nolan’s prior high-concept masterpiece, INCEPTION (2010), did lack character depth for me. While I realise this was Nolan’s intention, hardly any time is given setting up the characters. So much so they become cyphers within the plot. Nonetheless, the charisma of the cast, notably John David Washington and the impressive Robert Pattinson, dominates the screen and the two bounce off each other magnetically. Elizabeth Debicki and Kenneth Branagh also bring much to their roles, however their subplot involving domestic abuse felt out of place in such a post-modern spectacle. Moreover, Branagh’s oligarch was, in certain scenes, verging on parodic cliche. I wondered if the villain of the piece could have been a little less B-movie heavy at times and possibly more cultured. This is a minor gripe though. After all, he is the bad guy!

Ultimately, TENET (2020) is a big, brash and confident Bond-type film with bells on. Sure, the rules of the world could have been excavated and presented somewhat clearer. But, Nolan favours a breakneck pace and be damned if you cannot keep up. Indeed, I am certain he has covered all the plot-holes (or paradoxes) I thought I saw and numerous questions I had by the end. While it is not without flaws, on first watch, I once again have to congratulate Christopher Nolan for striving for original thinking and fascinating concepts within a genre film. One may even argue that there are too many ideas here and simplification could have created a more emotionally satisfying film. However, there are many moments of cinematic genius in TENET (2020), notably in the Sisyphean payoffs within the inverted plot structure. Finally, one won’t see a more shiny and beautiful looking film all year. The future is bright: the future is Christopher Nolan.

Mark: 9.5 out of 11


SHUDDER TV HORROR REVIEW: CREEPSHOW (2019)

SHUDDER TV HORROR REVIEW: CREEPSHOW (2019)

Directors (various): Rob Schrab, Greg Nicotero, Tom Savini, Roxanne Benjamin, John Harrison, David Bruckner, etc.

Writers (various): Stephen King, Rob Schrab, Joe Hill,  Paul Dini, Stephen Langford, David J. Schow, John Skipp, Dori Miller, John Esposito, Bruce Jones, Christopher Buehlman, Matt Venne, etc.

Cast (various): Adrienne Barbeau, Jesse C. Boyd, Giancarlo Esposito, Christopher Nathan, Tobin Bell, Cailie Fleming, Rachel Hendrix, David Shea, Guy Messenger, Diane D. Carter, David A. MacDonald, Jeffrey Combs, Nelson Bonilla, Callan Wilson, Kid Cudi, DJ Qualls, Antwan Mills, Jake Garber, Gino Crognale, David Arquette, Karen Strassman, Tommy Kane, Kermit Rolison, Bruce Davison, Hannah Barefoot, Tricia Helfer, Dylan Smitty, Afemo Omilami, Logan Allan, Addison Hershey, Will Kidrachuck, Big Boi, Nasim Bowlus, Carey Jones, Madison Bailey, Ian Gregg, Ravi Naidu, Connor Christie, Madison Thompson, Jason Jabbar Wardlaw Jr., Andrew Eakle, Julia Denton, Scott Johnson, Tom Olson, Erica Frene, Danielle Lyn, Michael Scialabba, Jordan Patrick, Dennis Bouldin, David Wise, etc.         

Streaming platform: Shudder / Amazon Prime

***MAY CONTAIN SPOILERS***



The anthology or portmanteau film has thrown up some fine cinematic entertainment over the years. Generally, an anthology film can be described as a collection of works with a linked theme, genre, style and author etc. The horror genre is an ideal subject matter for anthology and the feature film, Creepshow (1982), found two giants of horror — Stephen King and George A. Romero — marrying their mischievous minds to monstrous impact.

Creepshow (1982) consisted of five short stories. Two of these stories were adapted from King’s literary narratives, while the rest were from originals he wrote for the film. The film is bookended by prologue and epilogue scenes involving a young boy who is scolded for reading horror comics. Conversely, Creepshow is a homage to the EC horror comics of the 1950s, such as Tales from the Crypt and The Vault of Horror. Romero even hired long-time effects specialist Tom Savini to replicate comic-like effects during the film. The movie was a minor hit and a sequel would follow. As would an actual comic book series based on the film.



Unsurprisingly, in this era of endless remakes and reboots and universes, Creepshow has received the TV adaptation treatment. Released as Shudder original production, the series consisted of six episodes and twelve terrifying tales. Experienced horror writers and directors were employed and there are also some very familiar faces in the cast too. Was it any good? Well, as someone who watches a lot of short horror films on YouTube, I have to say that there’s always hits and misses in the genre. However, the production values of Shudder’s Creepshow are of an excellent quality. Moreover, the stories keep to the traditions of the original films, which usually involved some kind of morality tale, revenger’s story or character-driven plot. They aren’t simply just exercises in style or terror over substance.

My favourites of the twelve were The House of the Head and Night of the Paw. In the former, a young girl discovers a terrifying toy head in her newly acquired dollhouse. This creepy concept really made me jump throughout and was devilishly clever too. In the Night of the Paw, we got another telling of the classic Monkey’s Paw story. Here a local mortician possesses a monkey’s paw that grants wishes which backfire horrifically. Of the other stories that I liked, Gray Matter was an atmospheric and nasty monster short. While Bad Wolf Down taps into the well-worn military versus werewolves’ theme, with stylish and bloody results.

Children and horror obviously feature a lot in Stephen King’s work. This is echoed in the stories called All Hallows Eve and The Companion. Both stories focussed on bullying and retribution in an imaginative fashion. Of the other stories, The Finger benefited from an unhinged performance by DJ Qualls. His character finds a finger which turns into something unspeakably evil. Meanwhile, Skincrawlers trod another often-used horror theme; that of the dangers of plastic surgery and (un)natural body enhancement. The remaining stories were also decent, although having said that the zombie tale, Times is Tough in Musky Holler, was arguably the weakest of the lot. Ultimately, Shudder’s Creepshow reboot was an entertaining horror anthology show, well written, directed and acted. My only reservation was it was all a bit slick and glossy. In fact, it could have done with a lower budget and the grittier touch of George Romero at times.

Mark: 8 out of 11


SHUDDER HORROR REVIEWS – KILLERS

SHUDDER HORROR REVIEWS – KILLERS

For my final slew of Shudder horror film reviews (with one television series write-up to come), I have combined a series of films which contain murder and killers central to the plot. I mean, most horror films feature these types of terrible situations, but the following movies are grounded very much in reality. Ghosts and ghouls and zombies and monsters are to the fore of the horror genre, however, for me, the shocking violence of human beings can often be far more scary on screen. Thus, these films feature assassins, revengers and serial killers which reflect the blackest part of the human soul. Marks out of eleven, with best rated first. You know the drill.

**MAY CONTAIN SPOILERS**



KILLER JOE (2011) – DIRECTED BY WILLIAM FREIDKIN

Tracy Letts’ incendiary, critically acclaimed dark comedy play was adapted by himself and directed brilliantly by genre auteur, William Friedkin. Matthew McConaughey arguably relaunched his serious acting career as the eponymous and corrupt lawman, Joe Cooper, who takes a fancy to Juno Temple’s southern Lolita-type. Killer Joe (2011) is full of bleakly biting noir dialogue and some amazing performances, especially from McConaughey and Temple. Playing out like the Coen Brothers doing a horror film, the memorably disturbing ending almost put me off chicken for life. This is a true cult classic from a director, screenwriter and cast, all at the top of their game.

Mark: 9 out of 11


A PERFECT GETAWAY (2009) – DIRECTED BY: DAVID TWOHY

Kind of like Agatha Christie meets holiday show Wish You Were Here, I had a lot of fun with David Twohy’s clever-clever-meta-thriller. Steve Zahn and Milla Jovovich are the honeymooners in Hawaii who find death in paradise, as a pair of serial killers are murdering holidaymakers. Having helped Vin Diesel to stardom in Pitch Black (2000), Twohy tries again with the laconic and likeable Timothy Olyphant as Macgyver-type island tourist. I’m a big Olyphant fan and he steals the show here in this nifty, twisting cat-and-mouse plot, however, the actor who would go onto massive things in the film world in none other than Chris Hemsworth. Thor pops up here portraying a tattooed-beefcake-with-an-attitude. Anyway, loads of actions, twists, pace and lovely locations make this film worth a visit.

Mark: 8 out of 11



WILDERNESS (2006) – DIRECTED BY: M.J. BASSETT

An efficient low-budget British thriller with a youngish cast led by charismatic actor, Toby Kebbell. Here, Sean Pertwee, takes his gang of youth offenders into the woods for a team-building exercise, only to find the team being destroyed by an unknown assailant. There are some decent thrills and kills throughout, but Christopher Smith’s film Severance (2006) did this idea much better. Still, it rattles along at a fine pace and Kebbell again demonstrates why Hollywood came knocking for his acting talent.

Mark: 7 out of 11


SMALLTOWN KILLERS (2017) – DIRECTED BY OLE BORNEDAL

Two Danish builders are having marital difficulties and one night when drunk, accidentally hire a Russian hitman on the ‘Dark Web’ to kill their wives. Mildly amusing, this comedic thriller is predictable with some haphazard plotting. Lastly, while the warring couples are pretty unlikeable characters, Marcin Dorocinski and Gwen Taylor, as the two hired assassins, provide some belly laughs with their hilarious performances.

Mark: 6.5 out of 11


WHITE OF THE EYE (1987) – DIRECTED BY DONALD CAMMELL

David Keith and Cathy Moriarty star in this serial-killer tale adapted from Margaret Tracy’s novel, Mrs White. Their relationship is put to the test when he becomes prime suspect in a series of murders. Cammell gets compelling performances from the leads but mishandles the plotting as the sudden twist near the end felt mildly ridiculous and contrived.

Mark: 6 out of 11