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THE RENTAL (2020) – HIDDEN FILM GEM ON AMAZON!

AMAZON FILM REVIEW: THE RENTAL (2020)

Directed by: Dave Franco

Screenplay by: Dave Franco, Joe Swanberg

Story by: Dave Franco, Joe Swanberg, Mike Demski

Produced by: Dave Franco, Elizabeth Haggard, Teddy Schwarzman, Ben Stillman, Joe Swanberg, Christopher Storer

Cast: Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, Toby Huss

Cinematography: Christian Sprenger

*** MAY CONTAIN SPOILERS ***


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If you’re old like me you will remember the golden era of video rental stores in the 1980’s and 1990’s. I used to love going to the video shop at the weekend and choosing which films to watch. For example, on a Saturday afternoon at Blockbuster I would choose three films usually. One would be a banker like a high quality release or made by an acclaimed filmmaker whose work I was certain to like. Another would be a more commercial choice like a high concept action film or comedy; something to take the brain out for. Lastly, I would take a gamble on either an arthouse or foreign or indie character-driven film; OR an even bigger gamble on a lower-budget or unheard horror film or thriller with a back-of-the-video-box pitch that grabbed me. Often the latter choice would end up being a terribly arty bore or a schlocky B-movie disaster. However, every now and then I would find a film gem which totally gripped me.

With streaming now there’s not so much of a gamble as you haven’t had to walk or drive to the video shop. Even better there’s no need to return the tapes on time and risk getting fined. You switch on your streaming device and choose your film. If you don’t like it you can turn it off, although I do tend to see things through to the end on most occasions. But hey Paul, enough about comparing the past with the present – WHAT’S YOUR POINT! Oh yes, the Dave Franco directed The Rental (2020) is one of those films which I took a chance on because of the cast and the back-of-video-box-pitch (i.e. the Amazon online trailer). I’m glad I did watch it, as it is a terrific thriller with a tension-filled script which leads and misleads you through a series of compelling twists. It’s a simple premise, involving two couples spending the weekend at a beautiful rural property where poor choices destabilise their harmony, only for all hell to break loose when a serious crime escalates the action.

The cast of Dan Stevens, Alison Brie, Shiela Vand and Jeremy Allen White are arguably punching below their weight where the B-movie material is concerned. Yet, they bring quality to the proceedings as the initial peace between the characters descends into chaos when first infidelity and then murder rears its ugly head. One of my favourite character actors, Toby Huss, is excellent here too as the suspicious property manager. I’ve seen some so-so reviews for The Rental (2020), but it’s the kind of tightly plotted suspense thriller I really thrive on. What starts as an idyllic getaway for two relatively wealthy couples is carefully unravelled by Dave Franco’s well-paced direction, complimented by Brie and Steven’s committed performances, has wonderful locations and a seriously proper killer ending.

Mark: 8 out of 11


SHUDDER HORROR FILM REVIEWS – EXTREME!

SHUDDER HORROR FILM REVIEWS – EXTREME!

I’m continuing the Shudder film review residency here on my site with this post. However, as I watched so many horror films on the channel recently, I have decided to break them down into categories. This one is called Extreme!

Essentially the films reviewed here are — because of their content, style or both — prime examples of nasty, violent, sickening and in some cases extremely depraved horror movies. So, be warned do not watch these films, unless you have a strong emotional constitution and actually enjoy witnessing graphic scenes of gore, sex and bloody mayhem.

For your information, the films are reviewed in order of my rating, which as usual is out of eleven.



REVENGE (2017) – DIRECTED BY CORALIE FARGEAT

Featuring a B-movie rape and revenge plot, this exploitation story is raised way above its subject matter due to ultra-stylish direction, gorgeous cinematography and a compelling lead performance by Matilda Lutz. She portrays Jen, an aspiring actress, who is on a weekend getaway with handsome boyfriend (cheating husband), Richard (Kevin Janssens). He seems very well off as their break takes place at a stunning isolated villa location. However, things go awry when two of his hunting buddies turn up, and one, Stan (Vincent Colombe) attacks Jen while Richard is out. From then on events twist from incredibly bad to worse for Jen, and she finds herself being hunted down in the blazing heat of the desert. The film looks absolutely incredible with amazing photography and colour design. Overall, what it lacks in story and characterisation though, it more than makes up for in stunning action, searing violence and a powerful critique of toxic masculinity.

Mark: 8 out of 11


TERRIFIER (2016) – DIRECTED BY DAMIEN LEONE

I saw this horror film appear in a post on the YouTube channel What Culture Horror. So, the story of a demented clown who never speaks and slashes people to death on Halloween definitely piqued my interest. It’s both extremely violent and low-budget, having been made for around $100,000. However, it is in fact impressively shot and edited for such a small amount of money. The gory effects are amazingly effective too, summoning up memories of 1980’s prosthetic film effects. There is no real subtext or thematic strength, but I was pretty tense and sickened throughout. Moreover, the clown called Art is a memorably monstrous creation. He kills without reason and purely for his own entertainment. Nihilistic in tone, the director sure knows his horror and delights in presenting many sick ways of murdering his characters. Thus, if you like disembowelling, strangulation, burning, beheading and other gruesome movie deaths then, Terrifier (2016), is worth watching from behind the safety of the sofa.

Mark: 7.5 out of 11



CITY OF THE LIVING DEAD (1980) / THE HOUSE BY THE CEMETERY (1981) – DIRECTED BY LUCIO FULCI

Filmmaker, Lucio Fulci, is often found lurking in the shadow of Italian horror filmmakers such as Mario Bava and Dario Argento, however, he truly knows how to frighten and sicken the life out of an audience. So much so he has been given the nickname, ‘Godfather of Gore’. As well as directing many films, notably, Zombie Flesh Eaters (1979) and The New York Ripper (1982), he is infamous for his “Gates of Hell” trilogy which included: City of the Living Dead (1980), The House By the Cemetery (1981) and The Beyond (1981). I re-watched the first two recently and while not as terrifying as when I saw them in the past, they still have the power to shock. While lacking coherent plots, containing pretty bad acting and some chronically dreadful dubbing in places, paradoxically Fulci’s films can arguably be considered surreal horror classics. They may not make any narrative sense, but his ability to create stunningly violent set-pieces is legendary. Memorable scenes include: the spewing of intestines, crawling maggots, hanging priests, drilled brains, chopped heads and monsters rising from basements and graves. Such imagery and dreaded moments — all set to a creepy synth soundtrack — make Fulci’s movies unsettling viewing experiences.

Mark: 7 out of 11


ISLAND OF DEATH (1976) – DIRECTED BY NICO MASTORAKIS

Not only is this one of the sickest films I have seen, it is also one of the most appalling I have sat through. Having said that, that is in fact what Greek director Mastorakis, based on what I’ve read, set out to do. The story, if you can call it that, focusses on a couple called Christopher (Robert Behling) and Celia (Jane Lyle) who go on a sex-driven-kill-crazy-honeymoon-rampage on the Greek island of Mykonos. If you can get past the couple having sex in a phone booth while telephoning his mother, and stomach Christopher raping a goat before killing it, then do watch the rest of this conveyor belt of pornographic sex and violence. By the end, I was stunned to silence at how sick the film was.

Mark: 1 out of 11


TETSUO – THE IRON MAN (1989) – DIRECTED BY SHINYA TSUKAMOTO

Lauded as a low-budget Japanese extreme body horror cult classic, Tetsuo: The Iron Man (1989), is either the work of a genius or a complete madman. Filmmaker, Shinya Tsukamoto, deserves so much praise for literally making most of the film in his own house and paying for it out of his own pocket. Yet, the thumping industrial soundtrack, jump-cutting-stop-motion style and story of metal invading the body, soul and mind of various characters was too f*cked-up, even for me. I know it gets mentioned as a work of genius, but it was frankly unwatchable. Thankfully, it’s only sixty-seven minutes of hell to get through.

Unmarked!

MEMORABLE FILM CHARACTERS #4 – WITHNAIL

MEMORABLE FILM CHARACTERS #4 – WITHNAIL

Written and directed by: Bruce Robinson

Produced by: Paul Heller

Cast: Richard E. Grant, Paul McGann, Ralph Brown, Richard Griffiths


***CONTAINS SPOILERS***



“We want the finest wines available to humanity. And we want them here, and we want them now!” Withnail


I am not one to believe in fate, but there has to be something magical about the random moment, at the age of seventeen, I was perusing my local video shop looking for a film to rent, and the cover of low-budget, British independent character drama, Withnail and I (1987), shone amidst the variety of Hollywood produced fodder. I picked up the box and for some reason the story of two unemployed actors mooching about at the fag end of the 1960s called to me. Perhaps it was the front cover featuring the debauched and worse-for-wear looking character of Withnail which drew me in? Or was it the casting of Paul McGann as the eponymous ‘I’, an actor I recognised from excellent TV drama, The Monocled Mutineer. Whatever the reasons, I rented the film and a special bond was formed forthwith. It lasts to this day.

Firmly in my top-ten-line-for-line-best-dialogue-ever-movies, Withnail and I (1987) simply bursts with memorable spats, insults, one-liners, and speeches. Another major strength of Bruce Robinson’s elegantly profane screenplay is the relationship between permanently inebriated and cowardly ‘thespian’, Withnail (Richard E. Grant) and his buddy, ‘I’ (McGann). It is a strange friendship full of mutual disrespect, petty bickering, and envy, but by the end of the film a kindly form of love is revealed. Withnail may seem an angry man, but ultimately, he’s using that ire to hide pain, sadness, and disappointment.




“I feel like a pig shat in my head.” Withnail


Richard E. Grant is incredible as the paralytic, pathetic and cowardly Withnail, who, along with ‘I’, laments a lack of career opportunities. Such bitterness, jealousy and ranting make him hugely obnoxious. However, Robinson’s exquisite writing and Grant’s subtly empathetic performance actually create an incredibly poignant character. Well, that and he’s absolutely hilarious, Indeed, it’s a hedonistic joy witnessing Withnail drinking every liquid known to humanity as he attempts to obliterate the now and tomorrow. Unbelievably, Richard E. Grant was teetotal, so director Bruce Robinson had to get him very, very drunk in preparation for a role he never bettered in his whole career.

Bruce Robinson, arguably, never reached the heights of Withnail and I (1987) again, although he does have other impressive writing credits. But this screenplay is one of the greatest ever written; conversely making it one of the funniest and tragic films of all time. Lastly, his often quoted but rarely bettered work is one of the greatest I have ever read, brimming with towering poetry, bilious insults, and drunken repartee. I mean there is little plot to the story of two actors getting drunk, going to the country, getting drunk and coming back. However, it remains one of my favourite films of all time, with one of the most memorable characters in Withnail.