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Although I had read so much about A Serbian Film (2010), and don't remember the last time that a film of this type so split opinion, I was conscious of the need to approach it with an open mind as I wanted to make my own decisions without the influence of others. I had heard opinions ranging from 'avoid at all costs' to 'challenging and provocative' which was more than enough to convince me to track it down before its official release.

The plot follows a semi-retired porn actor who agrees to take a role in an art house film in an effort to alleviate his families financial woes. The films director refuses to disclose the nature of the plot much to the bemusement of protagonist Miloš. After a confusing walk through an orphanage, Miloš is led into the first of many explicit circumstances which go on to have elements of rape, necrophilia and child abuse. I don't intend on going any deeper into the plot or the specifics of the memorable scenes. To do so would be to steal from you some feeling of shock or repulsion that this entitles you to. My recommendation would be to see the film with as little knowledge of the content as possible.

The two main influences I see in the film (or at least the two films I am reminded of upon viewing) are Eli Roth's Hostel (2005) and Pier Paolo Pasolini's Salo, or the 120 Days of Sodom (1975). Hostel is obvious and in some ways  a shortcut to thinking. I am sure this is the film that A Serbian Film will be compared to most which, as unfortunate as you may consider it, is a prominent member of the same genre as this film must be filed. Salo however is a different proposition altogether; a deeply affecting and challenging film, the likes of which I have not seen equaled. Talking in terms of nihilism, exploitation and controversy, that is the benchmark which probably should never be met or surpassed. Exploring themes of  political corruption, abuse of power, sadism, perversion, and sexuality, A Serbian Film does not attain the same level of impact or effectiveness.

I must admit to the feeling that certain scenes were formulated purely for the impact they were sure to cause and the attention that there inclusion would bring to the feature. I don't necessarily consider this to be a negative thing but there are two scenes in particular which stand out to me in this manner. The film is not without social and artistic merit, which are both of particular note when considering the country of origin, but this is somewhat diluted by the extremities the filmmakers take the audience as we join them beyond repulsion and forward to bemusement.

A Serbian Film is going to struggle to function beyond its notoriety which will define the films release. It would be an understatement if I was to tell you that the film is going to be cut upon UK release; butchered would be a better term (a reported 49 cuts made by the BBFC). With this notoriety those who decide to see the film must do so in the knowledge that they may not like what they see and with this knowledge are entitled to view the film in its original form. The days of films being cut, and cut by almost five minutes, are decades past and I don't know if it is a misunderstanding or a refusal to understand that has led to this. Whether you view this film as a social commentary or the next level of torture porn you will remember it and based upon that fact alone I recommend you see it (uncut).

UK Release Date 3rd January 2010.

Men Are From Venus...

The two main DVD releases next week are at opposing ends of the gender spectrum; one film aimed directly at females and the other at their male counterparts. I have to admit to not being a big fan of either television series and this may have influenced the way I approached each of the two films however it is important to note that both were successful at the box office and will fill many a stocking come December 25th.

Man up and get in there! 

The A-Team (or Das A-Team - Der Film as it is known in Germany) was released on 30th July this year and stars Bradley Cooper, Liam Neeson and UFC light-heavyweight Quentin 'Rampage' Jackson as B.A Barracus. The A-Team does not deviate from the tried and tested formula of the series which is no bad thing as this lends itself well to the action blockbuster. Starting with a mission in Iraq, the four horsemen are quickly double crossed and find themselves on the wrong side of the law before creatively freeing each other from the confines of federal housing and embarking on the rectification of the wrongs they have suffered. The A-Team offers little in the way of surprise but is an enjoyable watch and delivers on the big budget entertainment we all expected from the release.

Overkill is underrated

The stand out scene for me involved the steering of a tank using heavy artillery which about summarises what you can expect from the movie. Good performances from the main cast members, and enough of a narrative structure to keep your attention and build suspense.

I have never been a big fan of the Sex and the City series and was further put off the sequel to the first cinematic outing after being reliably informed, by an ardent fan, that it is "dire... it really is". The plot will be immediately familiar to followers as the recognisable protagonists continue their efforts to find love and settle down with the odd mishap added for comedic effect. The original movie was filled with references to the fashion industry to the point where it seemed like a prolonged series of product placements.

You have to take the tradition, and decorate it your way

The thing that has always stood out to me about the narrative of the series was that, for all the proposed Independence and 'girl-power', the protagonists continually strive for male assurance and companionship and it is only when this is realised that the characters can be fulfilled and the series end happily. It does however draw huge audiences and continues to bring in endless amounts of profit for the producers and stars. I am sure that, even after the poor critical reception of this sequel, this will not be the last of these characters on the big screen. Audiences were drawn to the boundary pushing of the narrative content and the frank portrayal of sex has led to a change in mainstream attitudes so the series is not without merit. I hope however that the controversy is not generated in depictions to come through the desperate escapades of the aging cast.

Both movies are out on 29th November but if neither releases tickle your fancy I would recommend a trip to the cinema for Machete or The Girl who Kicked the Hornets Nest.

Official Site
http://www.sexandthecitymovie.com
http://www.ateam-movie.com

The Green Lantern

I tweeted a few weeks back about next year being a big one for the superhero. This overload may not be such a bad thing as quality will be at a premium due to the sheer volume of appearances from Captain America, Green Hornet etc. 

The Green Lantern trailer has just been posted online and, although I have to admit to being more excited about the release of Captain America, it looks an intersting prospect. Starring Ryan Reynolds, Blake Lively and Peter Sarsgaard; The Green Lantern is the story of a pilot with a 'power' ring that bestows the user with otherworldly powers along with membership into an intergalactic squadron with the goal of securing peace for the universe.  Directed by Martin Campbell and with a huge budget of $150 million the hype is sure to build over the coming months.

In a universe as vast as it is mysterious, a small but powerful force has existed for centuries. Protectors of peace and justice, they are called the Green Lantern Corps. A brotherhood of warriors sworn to keep intergalactic order, each Green Lantern wears a ring that grants him superpowers. But when a new enemy called Parallax threatens to destroy the balance of power in the Universe, their fate and the fate of Earth lie in the hands of their newest recruit, the first human ever selected: Hal Jordan.

Release date 17th June 2011.

Toughest Crew of the Century

The hype generated for the release of The Expendables (2010) by action fans the world over was enough to outweigh the combined testosterone of the cast. We had all been reading about the potential for this since it embryonic stages and the excitement continued to grow with the confirmation of each action heroes agreement to participate. The one problem with all this is how any film was going to live up to the promise that was being offered.

We are the shadow, the smoke in your eyes, the ghosts that hide in the night

The premise for the film is simple. Guns for hire undertake questionable work for questionable people. A ragtag bunch of has-beens and never-will-be’s thrown together as they chase financial gain and we hear the explosions ring out. It wouldn’t be a Stallone film without a conscience and it is Stallone’s character, Barney Ross, that provides the film with this. A mercenary with a big heart who is able to draw his team into the heart of battle when the primary gain is not monetary or physical; only Stallone could manage that. He has pulled our heartstrings before with Rocky (1976), with Rambo (1982) and with Over The Top (1987) and hasn‘t lost any of that ability as a writer, director or actor.

Stars from the eighties through to present day, a group of mercenaries and more action that one film should ever contain was the promise. The actuality delivered on certain levels but felt like an opportunity missed. The story, however much importance you place upon it, was posted MIA in my opinion and this led to a struggle for take-off. It is clear that Stallone has put everything into his performance, his reported injuries are testament to that, and Jason Stathman and Dolph Lundgren give you exactly what you expect. The appearances of Bruce Willis, Arnie and Mickey Rourke provided highlights but were all too brief in duration. The Expendables, for the most part, does exactly what it says on the tin. If you approach it expecting an engaging psychological affair then you will be disappointed., if however you take it on face value and consider it as pure entertainment then entertained you shall be.

Only thing you need to know is the job's real, and the money's real

With an estimated $80million budget the film grossed over $100 million in the US alone so in purely financial terms has the right to be considered a success. Due for DVD/Blu-ray release on December 13th, I recommend picking up a copy if you have not already seen it. Check your expectations and an enjoyable experience awaits.. Talk of the sequel and its cast began before the original hit the big screen and if Stallone learns the lessons from the first then the follow-up has the potential to be the greatest action movie of all. I believe.

You got a problem with that?

Official Site - http://www.theexpendablesmovie.net

Back from the Dead

I was inspired to blog about some of my favourite zombie films following the beginning of The Walking Dead series which started showing in the UK on FX last week. This seems to have prompted a resurgence in the genre and has proved popular enough to be commissioned for a second series. This should not be considered a ‘top four’ but represents the evolution of the genre from beginnings in the golden era for horror through to the social relevance of the sixties, the video nasties of the eighties and to the present day.  

The roots of the zombie in cinema can be traced back to 1932’s White Zombie which stars Bela Lugosi as voodoo practitioner Murder Legendre. Acknowledged as the first full-length zombie feature, White Zombie sees Lugosi’s character assist the wealthy Charles Beaumont in his advances towards the young Madeleine Parker. Legendre oversees a sugar cane mill complete with full zombie workforce and decides that Beaumont’s feelings would be best realised by the transformation of his desired. As you would expect Beaumont soon regrets his decision but finds trouble in convincing Legendre to reverse it. Lugosi’s portrayal is the highlight of this film which is plagued by poor acting from many of his co-stars. Following on the heels of Frankenstein (1931) , White Zombie is clearly an attempt to cash in on the success of Universal’s horror boom and was filmed primarily on Universal’s lot; borrowing props from previous films. 

I would argue that the genre can be defined by, and subsequently measured against, George A. Romero’s 1968 classic, Night of The Living Dead. Filmed in black and white with a minuscule budget, Night of The Living Dead has gone on to become one of the most influential films of the sixties. This is in no small part due to the social commentary contained within the story of seven people and their attempts to survive the night. Night of The Living Dead comments on racism and the involvement of the US in Vietnam are easy to interpret from the content. Night of The Living Dead has a stark realism, rarely achieved from the horror genre of its time which results in the content and commentary containing an added relevance. Romero’s film was the catalyst for change within the horror genre and for me it’s influence can be traced through Wes Craven’s Last House on the Left (1972) right through the slasher genre to the present day.

1981 saw the release of Sam Raimi’s Evil Dead starring Bruce Campbell as Ash Williams. Considered controversial for the graphic nature of its content, the film follows college students and their vacation to an isolated cabin where they unwittingly summon the (un)dead. The characters are possessed one by one and become ‘deadites’ before attacking their former friends. One of the most controversy courting scenes sees Ash’s sister Cheryl being raped by a demon possessed tree, which along with the film’s excessive gore and violence, led to it being banned on release in several countries. The Evil Dead continues the low budget trend in the genre, made for $375,000 and resulting in a moderately successful box office take and two sequels. The Evil Dead’s success should be measured more in its elevation to cult status in the years since its production.

A more recent outing for the undead masses was 2009’s Zombieland starring Woody Harrelson and Jessie Eisenberg. Currently standing as the highest grossing zombie movie in the US, Zombieland sees the attempt at survival of four characters from varying backgrounds pitted against the elements of zombie apocalypse and the search for Twinkies. Similar to the horror rules outlined in Wes Craven’s Scream (1996), Eisenberg’s character Columbus has devised a set of survival rules which he adheres to throughout the film. The 30 rules include “Beware of Bathrooms” and “Check the Back Seat”. One of the most memorable scenes is the cameo from Bill Murray who plays himself  as the characters seek refuge in his Hollywood mansion. Zombieland proves that the zombie, and the genre, really is comparable to its depiction of the undead in its timeless appeal.

The Trick is to Stay Alive

Released in the Autumn of 1978, John Carpenter's Halloween was the most profitable independent movie of its time. Filmed on a relatively modest budget of $325,000 in the Spring of that year, Halloween was unlike anything that had come before it. 

The budget constraints led to an increased level of creativity from those involved. This included the creation of season by painting bags full of leaves and actors wearing their own clothes to save production costs. More inherent to the mise en scene of the film is the lack of extras which results in a sense of loneliness. You notice that even in the daytime, save for a few instances, the streets appear deserted. The feeling I get from this is that the townspeople know something that the films main characters are yet to discover. This assists with the tension build that is so important to the success of Halloween.

The introduction is filmed to appear as a single four minute shot, in first person view, that depicts the killing of a teenage girl. It is at the end of this four minute scene that we see that the eyes we have followed are those of a young child. There are cuts in the scene, such as when the mask is put on the camera, but the shot was still particularly difficult to achieve. Filmed on the last day of shooting, the rest of the cast and crew redressed the dilapidated Myers house to appear as it may have looked fifteen years previous. The crew utilised the Panaglide camera set-up (effectively a steadicam) to allow fluid movement and the first person view. This is used to great effect in achieving a sense of voyeurism which allows the viewer to place themselves in any given frame or scene.

From this moment forth we feel an increase in tension which Carpenter refuses to satisfy prematurely. We know that Myers will kill but these killings do not arrive quickly. One of the main vehicles exploited to achieve this sense of foreboding is the films score. Created by Carpenter for the purpose of speed and budget the soundtrack has become iconic and instantly recognisable in the years following the films release.

It can be difficult, within the constraints of the horror genre, to establish characters that the viewer finds are easy to relate to. Often, those on the proverbial receiving end, are shrill,  brainless and devoid of redeemable features. This is another facet through which Halloween is able to establish itself apart from its peers.

The first characterisation that I wish to explore is that of protagonist Laurie Strode who is played by Jamie Lee Curtis in her first 'major' role. Unlike her female counterparts from the genre's history Laurie is clever; her own words "Guys thinks I'm too smart" illustrates how aware she is of this fact. Laurie is not on screen to be exploited, her chastity is intact and it is this that protects her from the evil which befalls her peers. 

The second important point of note for me is the children. Originally titled The Babysitter Murders, Laurie and her friend are babysitting on the night of the murders. Laurie however ends up with the two children as her friends seek seedier undertakings. It is through her exchanges with young Tommy Doyle that we are able to understand the children's interpretation of happenings. It is Tommy who terms Michael the 'boogeyman' and it is also Tommy who correctly advises Laurie that you can't kill the boogeyman. Tommy unknowingly shares the opinions of Dr. Loomis and again, as in the beginning, it is through children's eyes that we are given the clearest view.

A villain as effective as Michael Myers is difficult to create. It is the characters inherent nothingness that primarily contributes  to this. Nothing in the way of emotion, nothing in the way of motive and nothing can stop him. It is the addressing of these points that led to the downturn in success of the latter films in the series. As these points were addressed and the motive and humanisation of the character continued the boogeyman lurking quietly in the darkness was replaced by a relatable man. You can't kill the boogeyman but you can kill what makes him effective.

The main influence that I see apparent is Hitchcock's seminal Psycho which predates Halloween by eighteen years. The direct links are obvious in the casting of Jamie Lee Curtis and the name given to Michael's psychiatrist so expertly played by Donald Pleasence. Psycho can be considered the film which directed the horror genre away from the 'gothic' tones of its predecessors and replaced the monster with the monster inside man. It is this premise that provides us which such an effective villain in Halloween. Michael Myers is the embodiment of the thin line between human and 'boogeyman'; from appearance to strength to indestructibility.

Following production Halloween received regional release and a generally poor reception from critics and audiences alike. The films popularity grew slowly through word of mouth to become one of the most influential films of its time and genre. With a 21 day shooting schedule and a cast derived primarily from B-movie experience Halloween is an example of  what can be achieved by a relatively inexperienced cast and crew when the premise and planning behind a production is of such a high standard.  Halloween reinvigorated a tired genre and if influence can be measured by imitators then this must be considered one of the most influential films of all time.