After “High Tension,” “Martyrs,” and “Frontier(s)” you’d think that French cinema had cornered the market on controversial and realistic violent cinema in the past few years but directors Yannick Dahan and Benjamin Rocher have taken the zombie genre and turned it on head in the film “La Horde.”
When one of their own is killed four corrupt cops break into an abandoned tenement building searching for the gangsters responsible. Nothing goes as planned as the cops find themselves ambushed by the gangsters and just when they think they are about to lose their lives the world is thrust into chaos by a zombie outbreak which traps them in the building. Now forced into an uncomfortable partnership the cops and gangsters must learn to trust each other in order to get out of the zombie infested building alive.
This would sound like standard zombie film fodder but the screenplay is smarter than it appears as people on both sides have ulterior motives and allegiances change as their situation grows more chaotic by the minute. Also, the dead are hording the bodies of the fallen and have their own agenda.
It is not fair to simply look at this film as a simple zombie film when there is so much more going on. It’s about family and trust and being able to trust your enemies when a greater threat arises. It’s also about violence, action, and carnage as there is a lot of that in this film as well. This is a hardcore zombie film from the “28 Days Later” and “Dawn of the Dead” remake mold. Zombies run fast. Kill lots. Spread blood everywhere and caught in between are corrupt cops and gangsters who seem to have an endless supply of bullets. The only deterrent of the film is the fact that both the cops and gangsters can’t seem to get it through their thick skills that the only way to kill the zombies is through a gunshot to the head despite the fact that the very first zombie they encounter they kill by blowing off his head. There are numerous scenes in which the characters unload hundreds of bullets on a single zombie just for the sake of doing so. These scenes get old really fast. This is a small problem with the film as it makes up for it in the last thirty minutes of the film where there are more surprises than a zombie film should have. Dahan and Rocher create some truly horrifying imagery that will go down in zombie history as some of the best scenes around and the closing moments of the film are not what you are expecting (as befitting a French horror film). This is not one to be missed.
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Wednesday, February 9, 2011
Film Review: TETSUO: THE BULLET MAN
It’ s been 17 years since director Shinya Tsukamoto delved into the world of “Tetsuo” and he opens up a whole new world in the latest chapter in the series “Tetsuo: The Bullet Man.” This entry strives to be a little more mainstream by having the main character Anthony (Eric Bossick), the son of an American father and Japanese mother, live with his Japanese wife Yuriko (Akiko Mono) and son Tom in Japan. He’s your typical businessman who likes to walk his son to school every day but on one day while he is on the phone with Yuriko his son is run down through hit and run by a Guy (Shinya Tsukamoto). Having heard the whole incident over the phone Yuriko starts to spiral into madness seeking only revenge for the death of her son. This causes Anthony to release a lot of violent and hidden emotions that manifests themselves eternally through the gradual transformation of his body into iron. When the Guy that killed his son reappears, Anthony mutates into a human weapon fueled by his need for revenge.
Tsukamoto’s techno-body-horror remains intact in this film from the previous two films but with a bigger budget he’s able to expand on the cinematography, makeup, visual effects, and story like never before. Whereas with the original “Tetsuo,” which used a lot of close-ups and fast cuts to give the film a very cramped and claustrophobic feel this film has a lot more wide angles (and not so many scenes appear chaotic and frenetic). This new film feels very controlled and precise and shows off Tsukamoto’s technical skills learned in the 17 years in between films.
Fans of the original will not be disappointed. Even though this is a remake/re-imagination of the original film (ala “The Evil Dead 2”) Tsukamoto uses his signature style of the original film and transplants it to this film so even though this film has a larger budget and a broader audience appeal than the previous films it may still turn off those who only know him from his work in “Vital” and the “Nightmare Detective” films (which are more mainstream).
Tsukamoto’s techno-body-horror remains intact in this film from the previous two films but with a bigger budget he’s able to expand on the cinematography, makeup, visual effects, and story like never before. Whereas with the original “Tetsuo,” which used a lot of close-ups and fast cuts to give the film a very cramped and claustrophobic feel this film has a lot more wide angles (and not so many scenes appear chaotic and frenetic). This new film feels very controlled and precise and shows off Tsukamoto’s technical skills learned in the 17 years in between films.
Fans of the original will not be disappointed. Even though this is a remake/re-imagination of the original film (ala “The Evil Dead 2”) Tsukamoto uses his signature style of the original film and transplants it to this film so even though this film has a larger budget and a broader audience appeal than the previous films it may still turn off those who only know him from his work in “Vital” and the “Nightmare Detective” films (which are more mainstream).
Graphic Novel Review: USAGI YOJIMBO BOOK 1: THE RONIN by Stan Sakai
Stan Sakai’s creation Usagi Yojimbo has always been a favorite but I’ve never been able to read the story from the very beginning and Book 1: The Ronin gives readers a chance to see where it all began by reprinting some of the character’s earliest appearances before he got his own long running series. At over 140 pages Sakai puts together a very good collection for new and old readers to enjoy.
Usagi is a ronin, or wandering samurai without a master, who travels the country side town to town helping out wherever he can for whatever little money he can make. The thing about the world of Sakai and Usagi, in particular, is that Usagi is a rabbit and the world that he inhabits is filled with all manner of animals and creatures right out of a Walt Disney film (just with more violence). Don’t let the “cute” animals fool you. These characters are as ruthless and cunning as in any other adult comic book but because of the world in which they inhabit Sakai doesn’t skimp on the humor either (in fact, the humor is at times more effective than the violence).
Usagi encounters goblins, helps a prince ascend to the throne before getting killed, becomes a bounty hunter, and is accused of being a horse thief, to name a few. There is no trouble too big for him to wander into. The most enduring quality about Sakai’s character is that he gives up many qualities of a normal life in order to maintain honor and a since of morality that slowly disappears from his world. He is of a dying breed (made even more apparent in the superior stories “Lone Rabbit & Child” and its sequel “The Confession” and the more personal “Homecoming” and “Village of Fear”). Some of Usagi’s funniest stories are his misadventures with the bounty hunter Gennosuke (in “Bounty Hunter” & “Bounty Hunter II”) and when he is accused of a horse thief in “Horse Thief.”
Readers will enjoy going on the long adventure with Usagi especially if they are fans of the Japanese manga and film series Lone Wolf & Cub or Zatoichi (which are both heavy influences on this character).
Usagi is a ronin, or wandering samurai without a master, who travels the country side town to town helping out wherever he can for whatever little money he can make. The thing about the world of Sakai and Usagi, in particular, is that Usagi is a rabbit and the world that he inhabits is filled with all manner of animals and creatures right out of a Walt Disney film (just with more violence). Don’t let the “cute” animals fool you. These characters are as ruthless and cunning as in any other adult comic book but because of the world in which they inhabit Sakai doesn’t skimp on the humor either (in fact, the humor is at times more effective than the violence).
Usagi encounters goblins, helps a prince ascend to the throne before getting killed, becomes a bounty hunter, and is accused of being a horse thief, to name a few. There is no trouble too big for him to wander into. The most enduring quality about Sakai’s character is that he gives up many qualities of a normal life in order to maintain honor and a since of morality that slowly disappears from his world. He is of a dying breed (made even more apparent in the superior stories “Lone Rabbit & Child” and its sequel “The Confession” and the more personal “Homecoming” and “Village of Fear”). Some of Usagi’s funniest stories are his misadventures with the bounty hunter Gennosuke (in “Bounty Hunter” & “Bounty Hunter II”) and when he is accused of a horse thief in “Horse Thief.”
Readers will enjoy going on the long adventure with Usagi especially if they are fans of the Japanese manga and film series Lone Wolf & Cub or Zatoichi (which are both heavy influences on this character).
Novel Review: EATEN ALIVE! ITALIAN CANNIBAL AND ZOMBIE MOVIES by Jay Slater
I love zombie films and it seems so does Jay Slater whose book Eaten Alive! Italian Cannibal and Zombie Movies is for lovers of Italian cannibal and zombie films. Slater has put together one of the most comprehensive collection of articles on cannibal & zombie films that I’ve ever seen. Good, bad, horrible – it doesn’t matter Slater covers them all. The Italian film industry is a mixed bag because the industry always seemed to just latch on to whatever genre or fad was popular at any given time which is why the Italian cannibal and zombie genres came and went so fast.
Slater’s book touches on all the watermark films such as the Lucio Fulci zombie trilogy and “Cannibal Holocaust” and includes many co-productions such as George A. Romero’s “Dawn of the Dead” up to “Flesh for Frankenstein.” Slater organizes the book by year starting off with “War of the Zombies” (1964) and concluding with Michele Soavi’s “Dellamorte Dellamore” (1994). Although all the required viewing films are on hand it are the lesser known films that are truly worth taking a look at. Although I am very familiar with Italian zombie films many of the Italian cannibal films I’ve never seen (and thankfully for Slater’s review I won’t have to). Slater is very well versed in the genre giving each and every film not only a brief overview but adequate outlook on how they fit into the history of the genre. The Italian cannibal film was big during the ‘70s and ‘80s (which is apparent by all the entries in the genre) while their zombie films have time and time again popped up very varying degrees of popularity.
Also of interest to readers will be the interviews that Slater puts into the book of not only actors but crew members as well who recount both in loving detail (and sometimes disgust) at the filming of some of these films. Slater also brings in several guest writers to give their outlook on particular films such as Beatrice Ring, Donato Totaro, Benjamin Halligan, Kim Newman, Ramsey Campbell, to name a few. Slater has put together a very talented team that craft an otherwise unmatchable tome on the Italian film industry, at least in regards to cannibal and zombie films.
Be forewarned that this book is for die-hard fans of the genre (even though the occasional and curious fan are also welcomed) since it plays up to some of the genre’s most celebrated titles such as “The Beyond,” “Demons,” The Living Dead at Manchester Morgue,” “Dawn of the Dead,” “Zombie,” “City of the Living Dead,” Eaten Alive!” and “Voices from Beyond,” to name a few.
Slater’s book touches on all the watermark films such as the Lucio Fulci zombie trilogy and “Cannibal Holocaust” and includes many co-productions such as George A. Romero’s “Dawn of the Dead” up to “Flesh for Frankenstein.” Slater organizes the book by year starting off with “War of the Zombies” (1964) and concluding with Michele Soavi’s “Dellamorte Dellamore” (1994). Although all the required viewing films are on hand it are the lesser known films that are truly worth taking a look at. Although I am very familiar with Italian zombie films many of the Italian cannibal films I’ve never seen (and thankfully for Slater’s review I won’t have to). Slater is very well versed in the genre giving each and every film not only a brief overview but adequate outlook on how they fit into the history of the genre. The Italian cannibal film was big during the ‘70s and ‘80s (which is apparent by all the entries in the genre) while their zombie films have time and time again popped up very varying degrees of popularity.
Also of interest to readers will be the interviews that Slater puts into the book of not only actors but crew members as well who recount both in loving detail (and sometimes disgust) at the filming of some of these films. Slater also brings in several guest writers to give their outlook on particular films such as Beatrice Ring, Donato Totaro, Benjamin Halligan, Kim Newman, Ramsey Campbell, to name a few. Slater has put together a very talented team that craft an otherwise unmatchable tome on the Italian film industry, at least in regards to cannibal and zombie films.
Be forewarned that this book is for die-hard fans of the genre (even though the occasional and curious fan are also welcomed) since it plays up to some of the genre’s most celebrated titles such as “The Beyond,” “Demons,” The Living Dead at Manchester Morgue,” “Dawn of the Dead,” “Zombie,” “City of the Living Dead,” Eaten Alive!” and “Voices from Beyond,” to name a few.
Graphic Novel Review: 28 DAYS LATER: VOL. 2 – “BEND IN THE ROAD”
BOOM! Studios continues its successful run of the 28 Days Later comic book series with this latest graphic novel 28 Days Later: Vol. 2 “Bend in the Road’ which collects the issues 5-8 of the continuing misadventures of Selena, from the original film, and her new companions as they re-enter the quarantined London after the Rage Virus has turned most of the populace into blood thirsty killers.
The last volume ended with Selena and her companion’s boat being blown up by government officials when they got too close to making land. This volume actually begins with a flashback issue that explains how Selena met up with her main companions (at least the ones that don’t die in the explosion) Jimmy and Derrick (who was blinded due to the explosion), two news men with an eye on breaking one of the most controversial stories going down. They’ve gone into some of the most treacherous territories all over the world and think that there is nothing new with what is going on in London, too bad for them.
By the time we catch back up with the present Selena, Jimmy, and Derrick have fallen on desperate times as Derrick needs medicine and Jimmy is willing to do anything to save him. Despite Selena’s better judgment they continue on their journey but soon encounter survivors who have been hiding out. In order to get the medical supplies they need Selena and Jimmy leave Derrick with these survivors in order to venture into the populated and infested city. The city is not what they expected especially when they were told by the government that the infestation has been “taken care of.” They encounter a city overrun with the infected. They have to hide from the infected, get the medical supplies they need, and hope they can make it back to save Derrick, but there is more than just these minor things they have to worry about as the survivors have plans for Selena and Jimmy that may spell the end for Derrick.
Michael Alan Nelson out does himself on these issues as he writes a suspense filled story that keeps you on the edge of your seat and not knowing what will happen to our characters next. The first volume had a larger amount of characters to contend with but with only three main characters (now left alive) Nelson spends more time getting into their heads and allowing readers to get a better idea of who the characters are. Artwork is provided by Marek Oleksicki (for issue #5) and Declan Shalvey (issues #6-8) who contribute greatly to the atmosphere of the story and homage to the original film. Fans of the film will greatly appreciate the lengths by which BOOM! Studios and their people have gone to craft a worthy successor to the popular film franchise.
The last volume ended with Selena and her companion’s boat being blown up by government officials when they got too close to making land. This volume actually begins with a flashback issue that explains how Selena met up with her main companions (at least the ones that don’t die in the explosion) Jimmy and Derrick (who was blinded due to the explosion), two news men with an eye on breaking one of the most controversial stories going down. They’ve gone into some of the most treacherous territories all over the world and think that there is nothing new with what is going on in London, too bad for them.
By the time we catch back up with the present Selena, Jimmy, and Derrick have fallen on desperate times as Derrick needs medicine and Jimmy is willing to do anything to save him. Despite Selena’s better judgment they continue on their journey but soon encounter survivors who have been hiding out. In order to get the medical supplies they need Selena and Jimmy leave Derrick with these survivors in order to venture into the populated and infested city. The city is not what they expected especially when they were told by the government that the infestation has been “taken care of.” They encounter a city overrun with the infected. They have to hide from the infected, get the medical supplies they need, and hope they can make it back to save Derrick, but there is more than just these minor things they have to worry about as the survivors have plans for Selena and Jimmy that may spell the end for Derrick.
Michael Alan Nelson out does himself on these issues as he writes a suspense filled story that keeps you on the edge of your seat and not knowing what will happen to our characters next. The first volume had a larger amount of characters to contend with but with only three main characters (now left alive) Nelson spends more time getting into their heads and allowing readers to get a better idea of who the characters are. Artwork is provided by Marek Oleksicki (for issue #5) and Declan Shalvey (issues #6-8) who contribute greatly to the atmosphere of the story and homage to the original film. Fans of the film will greatly appreciate the lengths by which BOOM! Studios and their people have gone to craft a worthy successor to the popular film franchise.
Wednesday, September 8, 2010
Film Review: CARNY (2009)
Some SyFy channel movies are worth seeing while others are like this film Carny (2009), which is nothing but the same-old-same-old. When a side show carnival shows up in the outskirts of a small town, their prized new freak is that of a winged devil-creature that was acquired through nefarious ways. When the devil-creature gets lose it is up to the town sheriff Atlas (Lou Diamond Phillips) to rid them of the creature at any costs.
Now this film has the distinction of being just like any other SyFy film with the small town sheriff out to protect his town from the evil monster. The problem with this film lies in the bland characters and mediocre monster, which is made even more inane by the subpar CGI effects. It also hurts the film that there are no other “freaks” that are even remotely interesting. It’s a side show carnival that lacks any real “carnies” which makes the scenes when the monster isn’t on screen very mundane.
I enjoy Phillips in low budget films (i.e. Bats, Route 666, Red Water) but this film even he can’t save. This film lacks anything more than just the superficial horror genre trappings which is fine if it has an interesting monster or great actors (the hallmark of any good SyFy movie) but this films lacks both. Phillips is but one man in a film that should be filled with freaks. At least they would have made the film more interesting.
Now this film has the distinction of being just like any other SyFy film with the small town sheriff out to protect his town from the evil monster. The problem with this film lies in the bland characters and mediocre monster, which is made even more inane by the subpar CGI effects. It also hurts the film that there are no other “freaks” that are even remotely interesting. It’s a side show carnival that lacks any real “carnies” which makes the scenes when the monster isn’t on screen very mundane.
I enjoy Phillips in low budget films (i.e. Bats, Route 666, Red Water) but this film even he can’t save. This film lacks anything more than just the superficial horror genre trappings which is fine if it has an interesting monster or great actors (the hallmark of any good SyFy movie) but this films lacks both. Phillips is but one man in a film that should be filled with freaks. At least they would have made the film more interesting.
Film Review: CRITTERS 3
By the time Critters 3 (1991) is released all the steam is out of the franchise but production company New Line Cinema decides to film 2 sequels at once (as parts 3 & 4 are released just a year apart). It is not explained how there can possibly be any more critters left after the last film only that Earth bound bounty hunter Charlie (Don Opper) is still at work making the world safe from the creatures the best way that he can.
This time a critters catches a ride with a impoverished family who have stopped over near Grover’s Bend. A father and his two children come into contact with a run-down Charlie who looks more like a homeless man than a bounty hunter. When the family returns home to their apartment complex they are unaware of their hitchhiker and soon the complex is overrun with critters.
If you thought the original film was light on violence then you haven’t seen anything as this film is far too kid-friendly for its own good. Even though the main characters are still kids this film makes you think as though the film makers were trying to make a film for the PG crowd and the overall films suffers for it as it is far to domesticated for my tastes. After an all too brief appearance at the beginning Charlie doesn’t reappear until half way through the film and he is played completely for laughs this go-around. Although the previous two films had their humor and the character of Charlie has always been the comic foil, there is no one in this film that can balance the comedy like Scott Grimes did in the previous films. The film makers try to do this with the three main children leads in the film but they can’t hold the film and the overall film suffers. This film is actually boring through many of the repetitive parts.
This being sad I enjoyed the ending of the film more than the film itself as the End Credit sequence sets up the events for Part 4 and it is a welcomed return to see Terrence Mann return as Ug (despite the fact that at the end of Part 2 he has the same face as Charlie).
This time a critters catches a ride with a impoverished family who have stopped over near Grover’s Bend. A father and his two children come into contact with a run-down Charlie who looks more like a homeless man than a bounty hunter. When the family returns home to their apartment complex they are unaware of their hitchhiker and soon the complex is overrun with critters.
If you thought the original film was light on violence then you haven’t seen anything as this film is far too kid-friendly for its own good. Even though the main characters are still kids this film makes you think as though the film makers were trying to make a film for the PG crowd and the overall films suffers for it as it is far to domesticated for my tastes. After an all too brief appearance at the beginning Charlie doesn’t reappear until half way through the film and he is played completely for laughs this go-around. Although the previous two films had their humor and the character of Charlie has always been the comic foil, there is no one in this film that can balance the comedy like Scott Grimes did in the previous films. The film makers try to do this with the three main children leads in the film but they can’t hold the film and the overall film suffers. This film is actually boring through many of the repetitive parts.
This being sad I enjoyed the ending of the film more than the film itself as the End Credit sequence sets up the events for Part 4 and it is a welcomed return to see Terrence Mann return as Ug (despite the fact that at the end of Part 2 he has the same face as Charlie).
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