Horror Double Bill - CURSE OF CHUCKY (2013) and DARK TOUCH (2013)

It occurred to me recently that I've been treating horror cinema rather harshly of late. Our relationship has never lost that fire, but I've sorta been cheating on the genres cinematic output and focusing my attention far more on the literary side of things. I've been exploring a whole host of new authors, and re-reading some of the greats, and in doing so, I've partially abandoned the wondrous world of film for a time.

Not cool.

Well, its finally our favorite time of year - the fall, and with that comes that old familiar burning desire to vegetate on the sofa with endless buckets of popcorn, and give the better half a reason to dump our sorry, macabre-centric asses and find a more mentally balanced partner. 

I like to believe that for every leave that falls in the autumn, a horror fan somewhere on our crazy planet downs a cold one in honor of Jason, Micheal, Chucky, Freddy, Leatherface et all. Its a good time to be alive, man. And with the change in weather, I've found my second wind...

Yep, I've been watching a shit-ton of dark cinema this past week, and while it ain't all been a skip through a daisy field, there have been some pretty high watermarks to vanquish the bitter memory of the low.

But look, we're all busy here, so I'll cut to the chase...

Time ain't on my side of late, and it pains me to not get the word out about the movies I see, so I thought I'd try a different technique.

The reviews will be shorter than my usual, but hopefully concise, and maybe even point you in the direction of some movies you may have overlooked, or that may have been unfairly treated at the hands of the mainstream critics out there. Any suggestions are welcome, of course, kids.

So, no more foreplay...lets get on the bed.

First up is :

CURSE OF CHUCKY

Synopsis - After a long hiatus, the killer doll is back causing more bloodshed and mayhem. When an isolated mother and her wheelchair bound daughter receive a mysterious gift in the mail - an old school 80's Good-Guy doll - it sets in motion the evil Chucky's latest slaughter-spree, as the families past comes back to haunt them. With a knife. A sharp, sharp knife...

Everyone loves Chucky, don't they? The violent little bastard has been cutting a swathe through cinema since the late 80's, and when looked at in retrospect, the franchise as a whole actualy stands uop pretty well. Now, of course, SEED OF CHUCKY fucked all that up royally somewhere around a decade ago, but with CURSE, the original creator, writer and director of CHILDS PLAY has made a valiant and damned entertaining return to what made the half-pint headcase such a cool character in the first place. 

For my money, this is the best in the series since the first. Its got a wonderful, Gothic setting - a huge mansion, full of dark corridors, brooding architecture and cobweb-ridden attics, a stunningly beautiful and very talented lead, (the daughter of Brad Douriff, no less), some genuine tension, great cinematography, and - praise be - no fucking CG. 

Chucky has never looked better, nor felt more threatening that in CURSE. The lampooning air that permeated the previous two entries in the franchise has been jettisoned in favor of back-to-basics scares, a more serious tone, a reliance on atmosphere and eeriness, and a plot that actually tries to forward the series in some ways. Its all pretty tip-top for a chapter in a franchise that spans three decades. By this point in Jason's career, he was killing kids on a spaceship while dressed up like the gay-porno version of Robocop.

It ain't flawless - the tone of the final scene is too light to fit in with whats come before, some of the kills happen off-screen, and there are some glaring visual inconsistencies, (and no, I don't mean in Chucky ever-changing appearance; that's always been the case) - but its a determined return to form for the homicidal 'Good-Guy Doll'. Well worth checking out and without doubt a perfect flick for the Halloween season.

7.5 Creepy Little Bastards out of 10

DARK TOUCH

Synopsis - In the aftermath of the brutal slaying of her family, a young girl insists it was supernatural forces that killed them. As she moves into a caring families home and attempts to escape her horrific past, traumas resurface and she learns that not only is she right, but she may be the key to what occurred. 

For a small indie film, DARK TOUCH is making some sizable waves on the festival circuit. Its already being proclaimed, 'the superior telekinesis thriller of the year', (the other being the upcoming new adaptation of Stephen Kings CARRIE), and while I disagree on some counts, I can see why the film is garnering such credit among my fellow critics. This is a dark, mature and occasionally disturbing look at child abuse, and the viral nature of the harm it inflicts upon the innocent. It's a violent expression of the inherent anger we feel as a society towards the harming of our young, and its a decent little Irish export. What it's not however, is the masterpiece its being heralded as

Initially, this bleak, depressing little horror film feels a little chaotic in its pacing. Going in blind, its at first a little tough to get to grips with the directors intent, but stick with it. The prolonged opening makes way for some pretty interesting stuff.. 

The performances are all solid, and all the kids manage to hold their own with the more experienced adult cast. The lead actress puts in an especially haunting performance, and those of you sporting geek-vision may spot Rikkon from the mighty GAME OF THRONES in there too. Where the fuck is he now that Bran's ditched him anyway?

The hype surrounding DARK TOUCH may have some viewers setting their expectations a little too high. After all, its not a great film - the pacing lacks a certain focus, and the overall tone may be too despairing for some - but it is a worthwhile film. It's well shot and directed, and made with a real passion and a real message that, sadly, holds great relevance in today's society. It's refreshing to see new talent spring forth with such an authentic and impassioned voice, but I couldn't help finding the whole en-devour a little disjointed and often lacking in subtlety. 

Go in with an open mind, and you may enjoy it. I've been wrong before, man. 

5.5 Telekinetic Terrors out of 10

Review : Maniac (2013)

Remakes don't half get a bum deal when it comes to the horror genre.

Its understandable seeing as so many of them hurl headfirst into the grand chasm of mediocrity; be it Platinum Dunes and their relentless cash-grab knock-offs of classics such as NIGHTMARE ON ELM STREET, or the nightmarish teen-centric likes of the PG13 PROM NIGHT.
 Its easy to forget that many are far superior to their originals, and some of them even transcend the genre to become cinematic classics in their own right, ( THE THING, THE FLY).

After a long hiatus in the land of the living, I decided to return my most beloved genre with a risky prospect...A film of which I knew little and for which I cared even less. The Elijah Wood starring, MANIAC.

Boy, am I glad I did. This film knocked it out of the park in every way imaginable, and will most certainly find its place among the hallowed few I mentioned previously. It's not only far superior to the source material, (while sticking close to it), but its something of a modern horror masterpiece in its own right. Easily the finest genre film of the year and right up there with the best of the decade, but I digress.

For those unaware, or who have yet to be subjected to the original, MANIAC tells the heartwarming tale of a mans descent into bloody lunacy, via a penchant for re-imagining the women in his life, (or at least whom he imagines to be in his life to some degree), as perfect representations of feminine grace, beauty and companionship. A noble sentiment, sure, but our hero Frankie has taken objectifying women to some rather extreme conclusions. Namely, he scalps them, dresses up mannequins in their likeness and lives with them, as lovers, even as the rot sets in.

Its not a tale for the faint of heart. The original is notorious for its unflinching depiction of violence to women, and its as gory as all hell. While a remake starring such a big name as Mr Frodo himself seems like a recipe for certain disaster, MANIAC 2013 goes right for the throat with merciless abandon from the offset. Its as unforgiving and unapologetic as any horror film I can think of. A bleak and tortured journey into a very particular madness that feels utterly authentic and jarringly painful. This is extreme horror in the vein of the French New Wave of terror cinema, (INSIDE, MARTYRS), and is sure to ruffle just as many, if not more, feathers, among those who experience it.

 Its no secret that Lucky McKee and Jack Ketchum's THE WOMAN was a crowd-killer of the highest order, mainly due its perceived exploitation of females. Of course, any thinking viewer could easily see that it was quite the opposite...a damning portrayal of masculine insecurity and the burning need to control the goddess' among us. MANIAC follows a similarly dark path, though this time the musings are focused on one mans psyche, past trauma's, and inability to reconcile his need for love and companionship with his urge to feel secure within his relationships. If THE WOMAN was a mirror on my fellow males own bullshit machismo, MANIAC is a daunting look into the very centre of what makes us tick. The need for understanding. The desire to hold onto those we love or believe ourselves to love, and the inherent neediness that drags modern man to his knees in a world of strong, driven women. Its a hard watch, but a worthwhile one for both guys and gals alike. Of course, not all of us go to the extremes that poor Frankie does, but that's besides the point. If cinemas great virtue is to elevate and/or exaggerate the human condition to bring us closer to some sort of understanding of ourselves, then MANIAC can only be perceived as a resounding success. It may share certain themes and ideologies with other classics, TAXI DRIVER and PEEPING TOM appear to be huge influences), but it blazes its own hellish trail with artful, thoughtful relish. Every single moment of the film is shot, edited, acted and sound-tracked to perfection to create a world that's hauntingly real.

The first thing that becomes apparent is that MANIAC is, brilliantly, shot almost entirely through the eyes of Frankie himself. All we see is through Frankie's eyes, both physical and psychological. It serves to completely immerse us in his twisted world. We share his anxiety, his delusions, his nightmares, self-repulsion and yes, his violent means to quiet his demons.

Seeing the world through Frankie's eyes is a damn painful experience, in more ways than one.

Thanks in huge part to Elijah Woods incredible turn as the traumatised, tortured killer, we not only bare witness to all his vicious externalisations of his rage and fear, we come to feel like we're waling in his shoes. We see his dark fantasies in real time as they unfold. We come to understand how they control him and cut any chance at a normal life off at the knees. Frankie is far from a cut-and-paste villain; he's a monster created solely of circumstance, and one who fights constantly to lay his demons down. We come to care about him, even  as we share in his sickening actions. Its as unpleasant as any cinematic journey I can remember, but is never less than mesmerising.

We only see Elijah, the actor, under two circumstances, and both are very smart choices. When Frankie looks in a mirror, those huge open-heart-surgery eyes of Elijah's convey intense despair and horror, while underpinning the desperate isolation that dwells within him. Secondly, and even more telling, we occasionally see the world outwith his perception, and when we do, its during his most cathartic moments....while he kills. As the camera fluidly leaves Frankie's eyes, we come to see him outside his own body as he commits his grisly crimes. The impression is that of Frankie leaving his body, and his mind/prison, in those moments of release. Its the only times he's free, and by association, is the only time we are also set free.

The whole concept works brilliantly, bypassing gimmickry and heading straight into the hallowed halls bona-fide arthouse. It's no co-incidence that this film is directed by a Frenchman.

Also of note, and equelly important is the soundtrack. Its aboslutly stunning, recalling era of the video nasty with its driven synth mantras, while sounding completely modern. Its a beautiful, haunting score that actually makes the film bearable, while complimenting is inherent tragedy. The last soundtrack to kiss visuals so passionatly and deeply, for me at least, was LOST IN TRANSLATION.

By contrasting such brutal imagery with such lush soundscapes, the film paints a very vivid, very engrossing picture of life inside a severly damaged brain, but it doesnt stop there. Whereas the original is known for its filth and grime, MANIAC 2013 juxtaposes the sleaze, dirt and decay with clean, smooth and fresh visuals. We come to see the city as an extension of Frankie, both scum-ridded and capable of beauty. Again, very clever. I'm not sure what city the tale is supposed to take place in, but perhaps its every city. Every fucked up concrete behemoth that's equal parts gutters and glamour. (For more city-ridden horror cinema, both good and bad, check out Horror Films In Las Vegas, folks)

MANIAC caught me completly off my game. Its sickeningly violent in a way few films can ever hope to reach, its almost pronographic in its detail to not only the ugliness of the world but its beauty too. Art that pushes boundaries is always welcome in my dojo, and MANIAC takes us all the way into the dank, creeping corridors of ruined childhoods, lost souls and seriously, seriously fucked up mental illness. It aint called MANIAC for nothing. This is the real deal. Its a hypnotic, techically dazzling film that scrapes away at your soul and leaves you drained, sore and satisfied. This one will stay with you for a very long time.

10 Living Dolls out of 10

Review : The Walking Dead Season 3 Episode 3 - Walk With Me

After two enthralling weeks spent inside the progressively desperate minds of Officer Rik Grimes and his motley crew of survivors; THE WALKING DEAD takes a bold, first-time venture,( and a risky one at that) By casting its gaze far from the wonderfully bleak prison setting and our long-suffering gang for an entire episode, and focusing on opening up the world in which the tale is set; the risk pays off in dividends. This is one of the very best episodes since the shows debut.

While its initially strange to realise that the only anchors to familiarity in 'Walk With Me', will be Andrea, and to some degree her new best buddy, and fan-favorite, Michonne; we soon settle into this fresh, unfolding story, and it's every bit as engaging as the prison.

We pick up where we left of in the season premier with Michonne and Andrea struggling day to day to keep breathing. Andrae is dangerously ill, and no place feels safe. When they spot a downed helicopter and investigate, they find they are not teh only souls out there in the rot and ruin who are curious about the crash. Two cars pull up, and out step a group of well armed, healthy looking and potentially deadly men. Its a thrilling opening.

Not least because, finally, we meet the man himself....The Governor.

Its been a long time coming. Fans have been salivating for this most infamous of villains for quite some time now, and he doesn't disappoint. Needless to say, he's portrayed with perfect poise and predatory menace by David Morrisey. What we have here is perhaps the shows most complex and layered character so far. This is no black and white bad guy. He's all shades of grey...equal parts charming and dedicated politico and cold-hearted psychopathic bastard. A very hard man to read.

In fact, for most of the episode, those unaware of just who this guy is, will most likely find him perfectly likable, even admirable. Some of you may still feel the same way come the episodes chilling and surprising finale. Getting a bead on this guy is like catching mist in the palm of your hand. Where the character will go is unknown, but its a tantalizing prospect having this particular leader bump heads with Rik

After all, we soon learn that somehow, this particular community leader has managed to reclaim a small slice of cicilisation. He has created a well-gaurded community with no less than seventy three members, including women, children and even family pets. He has electricty up and running. Fresh water. A medical team. A well-trained and well armed team of guards, (including a familiar face to long-time viewers), and a safe and idyllic way of life awaiting those he chooses to bring into the fold.

Alternativly, Rik has a filthy prison block, very little food, ten or so survivors, no direction, a rapidly deteriorating sense of civility and for a medical outfit, he has a one-legged, half-dead veterinarian and a grieving mother who performs caesarian sections on zombies. Its easy to choose which team you may wanna play for, given the opportunity....

Though things are not what they seem in the picture perfect town on Woodbury. Safety and comfort come at a cost, as we come to realize in a shocking and powerful scene that, in effect, re-introduces this mysterious 'Governor' in a more true form. This is a man who's willing to do anything to protect his people, or is that to protect his power?

Thats the beauty of such a character...we have no idea, (unless we're readers of the comics, of course. And that aint no gaurentee, either), of where this guy is going. So far, he's a moral conundrum. Dedicated and driven, but by what? Hints at a past tragedy suggest this may be a damaged soul looking to do some good in this brave new world, but we all now how power corrupts, and in a town where the hierarchy goes unquestioned; tyranny can easily find a dark place to nestle.

The episode ends on some chilling imagery that poses more questions than it answers about this enigmatic, imposing man, and it leaves us breathless to know more.

Throw into the mix a creepy scientist, a susceptible Andrea, and the first real scenes of character development for the fierce Michonne, and you have a stone cold winner that points to a very bright and emotionally and intellectually engaging future for the show.

There is very little zombie action in 'Walk With Me', and its a good thing. The first two episodes were action heavy, and while its a blast, we want to know these people. This one is all character and story. If the pace is slowed down, the sense of dread and trepidation is sped up, and our understanding of whats at stake living in this nightmare world, is deepened.

THE WALKING DEAD season three continues its stellar run and has found the seemingly perfect balance of action and suspense, and is only growing more thrilling, and dark, with each progressive episode. The show has hit its stride and then some. With the world opening up to endless possibilities for moral and physical conflict, and with Rik's first truly formidable opponent looming large over proceedings, the show can only go from strength to strength.

Fight the dead by all means, but for Gods sake, fear the living...

All hail The Governor.

10 Aquariums out of 10

Review : Paranormal Lack of Activity 4 (2012)

Authors Note : First of all, lemme just say HAPPY HALLOWEEN to everyone!

Sorry it's so belated, but my Internet was down for an extended period of time, and unfortunately, it happened just as our fave time of year came calling. So be it, gotta take the rough with the smooth, man. I did manage to watch a ridiculous amount of Horror during the season, as is my duty and my passion, and have a tidy little backlog of films to set about reviewing, (including, of course, THE WALKING DEAD S3E3). Bear with me folks. Now, onto the first of this months reviews....

Oh, and this review/rant will feature some spoilers, as its impossible to detail the films myriad flaws without exploring some of the plots more ridiculous twists. I'll keep the spoilers to a minimum, guys, although there's really nothing to spoil.

PARANORMAL ACTIVITY 4, should you not already be aware of this, is a full-tilt  disaster. I'll just throw that out there right off the bat for anyone who may be about to make the dire mistake of paying to see this nonsense. I'll give my reasons why its such a mess in due time, but in the slim chance your glancing at this review just as your putting on your jacket and heading for the door; mark my words.....do NOT pay to see this thing.

Buy something nice for your better half. Buy some Scotch and drink yourself good-looking. Hell, give your money to that homeless fella with the winning smile outside your local cornershop. I guarantee you'll feel better about yourself for doing it, and he deserves it a fuck-sight more than the makers of this franchise killer, even if he is sniffing bath-salts.

Speaking of the franchise; I'm a fan, by the way...

The first one scared the living daylights out of me, (despite the awful alterations made to its final moments), and as a standalone film, it was very satisfying. Its one of the few films in a long time that stayed with me long after its conclusion. It still gives me the fear when I watch it alone. Its potent, dread-filled and downright unsettling.

The second was really just more of the same, yet with a wider scope. It worked, not least in its addition of a newborn child into the mix. It was slow, but it was powerful.

The third shocked me, and gave the series a much needed kick in the nuts. It opened up the world more, and gave all those who bemoaned the first two films slower pacing, something to smile about. Its many peoples favourite. Me, I'll take the first one any day of the week, but each to their own...

Now, onto four.

I must admit, I went into this one with very low expectations. I'd read some reviews, and the general consensus was that this franchise had fallen into unworthy hands. I expected a cash-grab. Perhaps a somewhat tired retread of previous glories....despite all this, I had to see it for myself, (as I'm sure many of you will, too), but for once, I wish I'd listened to the masses. This was much worse than I could have imagined. It was almost unwatchable.

PARANORMAL ACTIVITY 4 begins with a short flashback to the events of part 2, when a demon-possessed Katie got a little kill-happy and abducted her nephew. In film 3, a prequel, we unearthed a few mysteries about what this demon was all about, so it should be instantly engaging now that we finally get to return to the present, and learn what has become of baby Hunter and his hellish nanny...

It's around five years later, and we're introduced to a new family, who just happen to live across the street from Katie, (what has she been doing all this time? Is she still possessed? Is she holding down a fucking job?), and her 'son', now known as Robbie. When Katie suddenly takes ill, our new family decide to take in her creepy-ass kid, (despite not knowing Katie OR the goddam kid...who are these people?), and strange shit immediatly starts to happen as Robbie befriends their own son. The daughter of the family and her perma-horny boyfriend decide to record all the 'activity' via laptops, in an attempt to get to the bottom of these strange events. Cue the same old shit minus the tension, dread, anticipation or intelligence of the previous three films.

It takes almost an hour before we get to ANY of the spooky stuff, (other than some old-hat, creepy kid stuff that's not even close to engaging), and when we do, its all the tricks we've seen before, only done so much better in the past. If the blueprint for a sequel is 'bigger/bolder/better' then the folks behind this soulless money-monster must have missed the memo. Everything here is small scale. Not subtle, mind you, just small scale and poorly handled.

Remember that scene in film 3 where everything in the kitchen clashes to the floor at once, propelling you from your seat? You got a sense of the demons malice, right? Not to mention one hell of a fright. Here, we have a knife. Just one. It floats to the ceiling, where it then apparently stays for a day or so, before dropping again. (is the demon holding it up there for some reason?) Thing is, the idea of this knife hanging over the families collective heads could have been a real crowd-pleaser and acted as a fine metaphor for the events unfolding. It could have made for a very tense setpiece. Instead, the knife floats up to the roof, only to eventually plunge back down and MISS the character its (perhaps) aiming for. The scene goes nowhere. This is all the more infuriating when you come to realise later on that all the kills are performed in the exact same manner asin  the previous movies. They could have went someplace new with this. Maybe go in an OMEN direction, with a freak accident leading to paranioa, mistrust and friction within the family unit. But no, the fucking knife just falls back down. Wow, this demon is such a badass....

I mentioned that it takes more than half the movie before the ghostly goings on really begin, but rest assured, before that point, you WILL sit watching static camera's for full minutes at a time, only to have either a loud bang or a cat jump at the screen, (yes, a fucking cat...thats how far gone down the plughole we are here, kids). Its all as predictable and boring as hell, and when the demon finally decides to get off his lazy ass and get down to some haunting, nothing has any significance. He levitates a girl from the bed, then sets her back down while she sleeps...why? He floats that fucking knife then drops it in front of the Dad instead of killing him...why? He plays (Kinect?), with the creepy children instead of doing fulfilling his mission of claiming Hunters soul....why?

Its all just filler to keep us watching as we crawl on bloodied knees, painfully and agonsingly towards the conclusion, which is no conclusion at all. Any questions that may have arisen from previous films are either swept aside or outright ignored in favour of massive plot-holes. The poster for this fucker claimed, 'All the activity has led to this..' Led to what?! Nothing fucking happens!

Its not until the last five minutes that we get anything worth chewing on, and just as it starts to look like this may be going somewhere, it ends. No conclusion, no thrills. Maybe sixty seconds of strange unexplained shit thats supposed to make up for the 88 minutes of nothing we've just been subjected to. Thanks for that.

The film does try to spice things up with the introduction of Xbox Kinect, (I shit you not). We come to learn the admittedly cool fact that if you look at Kinect through night vision, you can see the thousands of laser markers/motion detectors, (or whatever), that pick up the movement of the person playing. Of course, this is gonna be used to show us the demon right. Could be very cool, (at least its something new), but what we get instead of a horrifying outline of some unthinkable devil, is countless shots of a room covered in laser-dots, and finally, inexplicably, what appears to be the ghost of a child.

Hold on, arent we supposed to be dealing with a cloven-hooved demon here? Is our demon pal now in child form? Can he shapeshift? I guess so, but no ones fucking clue-ing me in, so I'll just assume this is thoughtless bullshit, shall I? Also, why is the Kinect left on for two weeks straight without someone, a parent perhaps, yelling at the kids to stop wasting fucking electricity. We're in economic freefall here, children...turn your goddam console off already!

Lets not forget, while all this dumb shit is going down, our intrepid leads are filming and recording EVERYTHING via a collection of laptops, yet after the first two nights, they NEVER go back to examine the footage. Had they done so, they would have found ghost boys, floating knives, moving chairs, asshole cats, and oh yeah, ONE OF THEM LEVITATING IN THEIR SLEEP! Might have been a good idea to actually look at the footage you filmed, you MTV-zombified clowns! Sherlock Holmes these kids are not.

In PARANORMAL ACTIVITY 4, plot-hole and narrative inconstistancy reign supreme. Without giving a great deal way, there are some plot twists concerning the two young boys that make no sense at all in the grand scheme of things

In all honesty, those two teens who take centre stage are the only halfway decent thing in this damn film. They have nothing to work with, yet somehow they remain likable, (despite their Bush-level idiocy). The boy in particular is pretty funny. Amazingly though, I didn't go to see this to get in on some teen hijinks. I came to see a demon kicking balls. I came to piece together the mystery that the previous films set up so well. I came to be scared.

And thats the crucial failing of PARANORMAL ACTIVITY 4....its just not scary. More than that, its downright boring, and very difficult to sit through, even at 88 minutes. It may seem a little harsh of a tad too nitpicky to tear a film apart in this manner, but you know what....people are paying to see this dreck, and they deserve better. The pre-teens who think this is what horror is all about need to be enlightened, and garbage like this only hinders the cause. And all to make some easy money.

This is as souless and as miserable as any horror film I've come across in recent memory. It lacks any spark of intrigue, originality or intellect, and it may well have killed a much-loved franchise that, (while I believe should have ended at three), could have pushed the boat out in fun new ways as current technology advances. There is no narrative drive, no momentum, nothing to hold onto or empathise with, no build-up, no answers to the pertinent questions, and absolutly none of the magic or imagination that elevated the previous three films to 'Halloween Tradition' status.

For many horror fans, watching PA4 is no less soul-raping than the trauma a Star Wars fan felt when they first witnessed the prequel trilogy. This is a monumental fuck-up and a huge step back for mainstream genre cinema. And you know what, I have a cat at home, and when the little furry bastard jumps on my laptop, I don't find it in any way entertaining. In fact, it pissed me off. Now WHY would I wanna pay for it?!

Fuck this movie.

1 Xbox Product-Placement out of 10

Review : The Barrens (2012)

A family man takes his wife and two kids on a camping trip into the wilds of New Jersey, with the intent to heal broken familial bonds and come to terms with the death of someone near and dear to him. No sooner has the fella and his tribe arrived, he starts seeing and hearing things, and comes to believe that the local legend of the 'Jersey Devil' may be much more than just a legend...

I felt a little guilty writing that synopsis. I really did. The reason why I felt so guilty is that THE BARRENS is not exactly a monster movie, and should never have been sold as one. A clearer and more accurate blurb for the film would be, 'one man goes shit-throwing crazy in the woods, while his family feel the fear'. This strange and uneven little horror tale is very much set in the genre of psychological thriller. I'm not spoiling anything for you guys, as its clear from ten minutes in that our lead is more than a little unhinged. Yes, they may or may not be a mythical beast involved, but this certainly isn't a film about said beastie. If you go in expecting the infamous Jersey Devil to be given its due, you'll be sorely dissapointed.

You have to hand it to director Bousman, (MOTHERS DAY, 11-11-11). He really does groove to his own tune. Despite flirting with the mainstream with SAW 3, he's since set out to make the movies and tell the stories that he wants to tell. It's admirable, if occasionally unsuccessful. His last film, 11-11-11, was cut off at the legs by some dreadful editing, but it it was clear that buried somewhere on the cutting room floor was a tense and original film. It shouldve been great, instead...it was a failure. THE BARRENS is certainly a good step up from that film, but we're once again faced with a work that is perhaps somewhat less than the sum of its parts.

I won't lie...when I heard about this film I envisioned a Laymonseque camping trip from hell, filled with old school violence, vicious maneaters, death by campfire and all round badassery. Thats just how my mind works. Its true that my disappointment may have colored my impression of the film, but I'm gonna try to leave this out of the equation and give this baby its dues on its own merits. Its a good film, and makes great use of a limited budget, but there are some problems...

The main problem with Bousman's latest lies in its storytelling.  It has some very accomplished performances, not least from its lead, and the entire family are interesting and likable, but something was lost in the writing. We know from the very start that the father is losing his grip on reality. Some poorly telegraphed dream sequences, ( I hate those damn things), give the game away right from the starting line, not to mention the mans propensity for looking alternately terror stricken or hate-filled, even when chilling with fellow campers and listening to some cool ghost stories. From the early scenes, we may not understand why this guy is where he is, but we see it clear as day, and it removes us from the story to find that his family seem, if not oblivious to his condition, then at least willfully blind to the severity of the poor bastards state. It seems a trite nonsensical that no one raises their arms early on in this film and procliams, 'Look man, lets just go fucking home already, and maybe fix Daddy up with a psychiatrist!'. This camping fiasco is doomed before the first sleeping bag is unrolled.

The pacing in the early scenes doesnt help either. Were it clear that this was a psychological study of dementia, then this wouldnt be a problem, but the chances are, most have come for some monster madness, and as its somewhere near forty five minutes before anything resembling real 'horror' occurs, it'll most likley leave a portion of genre viewers cold. Its a shame really, as if you stick with it, and if your aware of what your actually watching, THE BARRENS really starts to pick up in the second half. The fathers condition becomes clear and a true sense of threat enters the tale, perhaps from within the family, perhaps from without. You've come to care for this dysfunctional bunch quite a bit, and its in the finale that we get to the bloody heart of the matter. I wont say its too little too late, as the film is an accomplished work in many ways, its just that we aint getting what we paid for.

The locations that Bousman has chosen are stunning, and its in this one aspect that my expectations were fully met. I may not have gotten my cheap n cheerful Laymon style madness, but I sure as hell dug the woodland scenery. Its a truly beautiful film to look at. Despite its lack of real scares, the entire movie has the sort of killer atmosphere that you only seem to  find in 80's backwoods slashers, especially during a scene around a campfire, and the rain-soaked finale, both of which really shone. Bousman has the eye and the insight to create great horror, he just has to smooth out the editing, writing and pacing a little more.

As I write this, I'm coming to appreciate the film more for what it is. I'll be rating this one on a 'first veiwing' basis, but had my entrance to the film been of a different sort, I'm positive I would enjoy it a good deal more. In fact, I'm confident that this is a film that will be much more satisfying on second viewing than on first. Feel free to add an extra point to my rating for second viewing,

To summarize...THE BARRENS is a well told tale that simply makes the mistake of not setting its stall in the early scenes. It has bags of atmosphere, some creepy moments, great, (if occasionally overwrought), performances, and some nice twists along the way to keep you on your toes. Gore-hounds will find some kicks in the finale, and those who enjoy a good 'descent into lunacy' tale will find plenty to chew on. Is it a movie about man or monster? I ain't gonna divulge that information, but its in no way a proper look at the Jersey Devil. If you guys go in with the right attitude, you may come out pleasantly surprised. Go in with the wrong one and it may be a whole different story, much like THE BARRENS itself.

6 Gutted Deer out of 10 

Review : Silent House (2011)

Directors:

Chris Kentis, Laura Lau

Writers:

Gustavo Hern�ndez (film "La casa muda"), Laura Lau (screenplay)

Stars:

Elizabeth Olsen, Adam Trese and Eric Sheffer Stevens
 
Trapped inside her family's lakeside retreat, a young woman finds she is unable to contact the outside world as events become increasingly ominous in and around the house

I never caught the original SILENT HOUSE, and in truth, I had no real desire to catch this American remake. For one thing, a remake so soon after the original always feels like an insult to audiences intelligence to me, (yes, we can read subtitles; just release the original work), and as the films whole 'hype', if you will, was based around the fact that it is filmed, or at least appears to be filmed, in one continuous take. In short, its a gimmick, and to be quite frank, i couldn't give a good fuck about gimmickry, in any form, (unless William Castle is behind it). I'm interested in story, plot development, atmosphere and character. Without those things all fitted in place, bravado camerawork and directorial flourish really doesn't appeal to me. The story is God, if you will. SILENT HOUSE, in concept, sounds, (and is), pretty familiar ground. At its core, its essentially a home invasion movie, with an undercurrent on supernatural mystery to sweeten the taste. I dig these films, but they have to bring something fresh to the table. MOTHERS DAY, INSIDE, IL'S/THEM......now those are home invasion movies.

In truth, the 'one-shot-movie' thing feels like a chore to me. There are some masterful works out there that use the technique, and it goes without saying that Hitchcock's ROPE is a masterclass in the form, but lets be honest, there are very few Hitchcock's in this old world, and if one were to spring up, would he really be directing a remake of a recent film? Add to this the fact that these films are rarely completed in one shot, and the initial attraction is sedated even moreso. There are many editing tricks that can pull the wool over the audiences eyes, (HALLOWEEN'S celebrated extended opening shot from Myers' perspective is, in fact, three separate shots cleverly edited, and ROPE has few too, believe it or not). That said, the shots in these films are significantly long ones, and are very impressive, just not impressive enough to trump story, as is the case here. So, SILENT HOUSE remained on my 'who gives a rats ass' list since its original inception.

So, fuck the gimmickry. What works?

The one thing that changed my mind on all the above and actually got my ass in the seat for this one,  was my viewing of another film starring this films lead, Elizabeth Olsen, called MARTHA MARCY MAY MARLENE. Her performance in that film was so strong, so layered and so dynamic that I was willing to overlook any trepidation and dive on in. It doesn't hurt that shes incredibly sexy either.

Of course, the central performance is as on-point as anyone who's seen Olsen's previous work would expect. Shes fantastic, (even given the sparsity of her character on script), and portrays terror more effectively than almost anyone I can think of besides that gal from THE EXORCISM OF EMILY ROSE, or Nicole Kidman. Much like Nicole Kidman elevated the material in THE OTHERS, so Olsen takes a run-of-the-mill horror formula and injects it with real heart and authenticity. She saves the movie, and makes it a worthwhile watch if only to witness a star on the rise.

The film has a truckload of atmosphere too. Its genuinely creepy in its first two acts, and Directors, Chris Kentis and Laura Lau, make great use of his very limited, (though self imposed), box of tricks by using shadow and setting to maximum advantage. There are also some clever and effective nods to classics of old, including THE HAUNTING, (no, not the one with that guy from TAKEN). The set, (and setting) is suitably 'Gothic Americana', and the ever present gloom does bring on the chills. Sadly, the dynamic duo are saddled with a script and a story that both lack inspiration, and it all falls apart about midway through.

Somewhere around the mid-mark, SILENT HOUSE starts to veer into some disastrously familiar territory, and it becomes real obvious that this spook-house has a few twists up its sleeve. The problem is, the twists will be instantly seen through by anyone with a working knowledge of horror, and once the true nature of the plot sinks in, the scares, atmosphere and dread that the film has so well established are usurped by the audiences sense of tried recognition. You'll see this one coming a mile off, and it hurts the film greatly. personally, I had a handle of how events would most likely turn out from the opening scenes, simply through paying attention to character behaviour. I had hoped it wouldn't go down the path it, and I did get caught up in the tense atmosphere for a while, but really, theres nothing new here.

SILENT HOUSE is a film that absolutely walks the line in terms of quality. It boasts some impressive technical work, a brilliant lead performance, and some pretty unsettling scares early on, but it's balls drop off in the latter stages and it becomes little more that a familiar trip down Hollywood lane. Perhaps the original is sharper, though the plot was old long before the Uraguayan version, so I'm not holding out.

Hearty goodness and tiresome nonsense in equal measure. Its gotta be a.....

5 CREEPY FUCKING UNCLES out of 10

(Authors note : You wanna see a really excellent film with a purdy gal trapped in a big, boarded up house and running for her sweet life? Watch BURNING BRIGHT. It has a tiger....)