Disturbed by Disturbia..and not in a good way

I'm kind in forgetting Disturbia isn't original because it's just another drawback in a list of bad things this soulless, predictable, poorly directed film has going for it.

Is it unfair of me to mention Rear Window - Alfred Hitchcock's (the maestro of suspense) perfect thriller about a man who believes his neighbour killed somebody - the film Disturbia tries to update for the 21st Century, mobile phone-using, Ipod-listening, internet-using audience that craves, believe it of not, American Pie turned into a Silence of The Lambs meets The 'Burbs. I'd say it isn't unfair because the filmmakers should have watched Rear Window over and over and over again to find out just exactly how to make a thriller work.

The film itself is poor from execution right through the actors to the script. It takes 40 minutes for anything to happen and then the finale is rushed and predictable. The other problem is how the themes of loss and the protagonist's psychological struggle after his father's death is an afterthought to the house arrest set-up and his infatuation with the beautiful neighbour.

It's all just badly judged and makes the much better remake of The Hills Have Eyes, The Saw sequels, and Wrong Turn look like bona fide modern day classics.

My advice: watch for free, or don't watch at all.

Celebrating Into The Night

...John Landis' most underrated film is arguably his greatest achievement. For new and old fans, and for those just wanting to find out more about it, check out Celebrating Into The Night.

This feels like...Deja Vu...

....Denzel Washington and director Tony Scott re-team for the excellent time-bending movie Deja Vu. Despite a few issues I had with the narrative logic of the film, this is an exciting roller coaster ride of bad guys, car chases, and thrilling action sequences.

Jason X isn't so bad....

...okay, it isn't a 'great' film...in fact it's really, really, really, silly, but it knows it's limitations and runs with a playful use of slasher convention and science-fiction mystique. Oh, and it also borrows heavily from the Alien movies! READ MY REVIEW HERE

WHERE IT RANKS in the Friday The 13th series:

1. Friday The 13th (3/5)
2. Friday The 13th - The Final Chapter (3/5)
3. Jason Lives: Friday The 13th Part IV (3/5)
4. Friday The 13th - Part II (2/5)
5. Friday The 13th - Part III (2/5)
6. Friday The 13th Part VII: The New Blood (2/5)
7. Jason X (2/5)
8. Friday The 13th - A New Beginning (Part V) (1/5)
9. Friday The 13th Part VIII: Jason Takes Manhattan (1/5)
10. Jason Goes To Hell: The Final Friday (1/5)
11. Freddy Versus Jason (1/5)

Friday The 13th (Sean S. Cunningham, 1980, USA) - The raw and bloody original was a lot less influential than people think. It was massively inspired by John Carpenter’s Halloween and not nearly as good. Rating: 3 out of 5

Friday The 13th - Part II (Steve Miner, 1981, USA) - The second film is the first where Jason actually is the killer. It’s more enjoyable than the original film but far too similar. Rating: 2 out of 5

Friday The 13th - Part III (Steve Miner, 1982, USA) - It’s exactly the same film as the previous two, with the unfortunate bonus of 3-D. Rating: 2 out of 5

Friday The 13th - The Final Chapter (Part IV) (Joseph Zito, 1984, USA) - The film stars a young Corey Feldman who has to come to his older sister’s aid when Jason takes a fancy to her. This is silly fun and follows a very similar path to the films that proceeded it. However, it’s a better film than Part III and the most enjoyable of the sequels. Rating: 3 out of 5

Friday The 13th - A New Beginning (Part V) (Danny Steinmann, 1985, USA) - The best sequel is followed by the worst. A plotless mess and the worst Jason Voorhees film in the franchise. The fifth film tries to reignite the series after Jason is seemingly killed for good, but it fails to do a good job, simply stringing together bloody deaths for the sake of showing off the latest prosthetic and make-up effects. Waste of time. Rating: 1 out of 5

Jason Lives: Friday The 13th Part IV (Tom McLoughlin, 1986, USA) - A coherent plot helps Part IV be one of the better sequels. Rating: 3 out of 5

Friday The 13th Part VII: The New Blood (John Buechler, 1988, USA) - A nice premise that sees a sort of Carrie V Jason battle is sadly under-developed. However, it makes for some fun sequences and a little inventiveness to what had, by this time, become a rather dull retread of the same plot line. Rating: 2 out of 5

Friday The 13th Part VIII: Jason Takes Manhattan (Rob Heddon, 1989, USA) - A terrible mess that lacks any sort of plot. There’s some nice special-effects towards the end but you’d have fallen asleep by the time you get to them. Rating: 1 out of 5

Jason Goes To Hell: The Final Friday (Adam Marcus, 1993, USA) - Jason gets killed at the beginning which is about the only decent bit of the movie. Rating: 1 out of 5

Freddy Versus Jason (Ronny Yu, 2003, USA) - A gimmicky piece of rubbish seeing Freddy Krueger battling Jason Voorhees. On paper it seems like a crowd-pleaser but it’s bad filmmaking 101, and isn’t as fun as Jason X. Rating: 1 out of 5

(c) Strange Conversation

Doomed....

Perhaps I had higher hopes than I should have for the videogame adaptation Doom. I can't say it's a good film...read my review HERE

Into The Psyche of a Broken Man…revisiting John Landis’ Into The Night

CLICK HERE FOR FULL ARTICLE

John Landis might be remembered for Trading Places, Blues Brothers, and An American Werewolf In London. He might also be remembered by his detractors for the unfortunate incidences that occurred during the filming of The Twilight Zone, but for me, his career should almost be defined by his 1985 masterpiece Into The Night.

The film, starring Jeff Goldblum and Michelle Pfeiffer, is a little seen gem (not unlike his vampire flick Innocent Blood) that sheds the genre trappings of say An American Werewolf and the iconic prominence of stars and celebrity in, for example, Trading Places, Blues Brothers, or Coming To America. It’s a film that focuses on character, very much inspired by its time, with Landis not having to worry about special-effects (ala man changing into werewolf) or eccentric spectacle (look no further than The Blues Brothers or Animal House). It’s Landis’ most assured piece of filmmaking, and debatably, his greatest ever achievement.

The film is also prominent because it was the first Landis made after the tragedy of 1982 when Vic Morrow, Myca Dinh Le, and Renee Shin-Yi Chen, were killed when a helicopter stunt went wrong. Landis and other production crew were initially blamed and charged with manslaughter. Many people still hold Landis responsible for the deaths but the fact remains that after a long trial, Landis and the other crew members were acquitted in a court of law. The director was clearly deeply affected by the terrible deaths – more than many give him credit for – and this can be seen in Into The Night. His vision is pessimistic and bleak. He shows a disregard for commercialism and a materialistic world, and uses Los Angeles (the most fictionally abused city by American cinema, where dreams are made and broken) as his backdrop. His main character is confused, alone, miserable. He can’t sleep, almost an indication he has to spend more waking moments in his misery than those who can sleep. The film is very a much an investigation into what happens when conventional life loses its boundaries and suddenly a cavernous space opens up with infinite possibility. It’s about a frightening reality that isn’t governed by pop-culture, television adverts, or consumerism. Landis depicts a world where we have to make choices – not always the right ones – but choices that aren’t necessarily straight-forward. Ed, the main character, learns what he wanted by the end of the movie but can’t fathom what it is at the beginning. The choice, therefore, isn’t always in front of us, and we might never know what it really is, but it exists. (READ MORE)

The Howling and the modern Gothic

I watched Joe Dante's excellent 'The Howling' last night and what I liked especially about it was the way it portrayed intelligent werewolves. In 'An American Werewolf in London', the werewolf is very primal, only interested in feeding its hunger. In 'The Howling' and also 'Silver Bullet', the werewolf is intelligent and manipulative. There's a great shot in 'The Howling' when the journalist is looking through the doctor's files and the arm of the werewolf appears from the right of screen. It's a great shot, but also shows the intelligence of the beast - it didn't just want to feed, it wanted to hide important secrets.

It is interesting to note how different directors have approached the werewolf - for example, silver bullets kill the 'intelligent' werewolves of 'The Howling', but normal bullets kill the primal werewolf in Landis' 'An American Wereowolf'. The writer and directors seemingly take different aspects of Gothic tradition and work them into modern horror stories - in 'The Howling', we see humanistic elements within the beasts themselves who want to use the media for their own gain; in 'An American Werewolf' we see comedic value taken from Gothic tradition in that, for instance, when a human changes into a werewolf and his clothes are ripped off, what happens when he wakes up next morning , naked in a public zoo; and 'Teen Wolf' that allows its main character to use the fruits of an animals power - it's speed and strength - to become his school's best basketball player.

TOP 10 HORROR MOVIES OF THE 1980s