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Maggie (2015)
Wonderful performance from Breslin isn't enough to save the film from some serious pacing issues and Schwarzenegger's uneven work
In the midst of a deadly plague that is reanimating the deceased, Wade Vogel (Arnold Schwarzenegger) brings his infected daughter Maggie (Abigail Breslin) back to the family farm to spend her final days before she must be quarantined. Both struggle to come to terms with Maggie's condition as they resist outside pressures and internal conflict, all the while anxiously waiting for the more murderous symptoms of the illness to take hold.
The first feature from director Henry Hobson, Maggie is a slow burning look at terminal illness, and the different ways people deal with such a painful and inevitable situation, wrapped up in a zombie film. Unlike the majority of zombie films, which usually focus on a group of survivors living in a post apocalyptic landscape, Hobson attempts to increase the emotional impact by keeping a sense of normality to the world and zeroing in on the plight of one particular family. Anyone expecting a typical horror film is likely to be disappointed, as there are very little scares to be had, but it is refreshing to see a director willing to take a different approach to this genre.
Unfortunately, while there are moments of real depth and feeling, there are also too many times when the pacing is almost glacial, grinding the narrative to a halt. Dialogue is sparse, and although this absence does support the gravity of the situation that's unfolding on screen a few more verbal exchanges would have developed our bond for the characters and their plight. In several important moments it almost feels as if Hobson trusts his leads a little too much, choosing to rely on facial expressions and brooding silence to move the story along. This is particularly true an issue for Schwarzenegger, branching out into arguably the first ever role where he's expected to act as opposed to just fill a flak jacket and look mean. There are a few moments where he manages to convey the weight of the situation on Wade's shoulders but this is soon removed whenever he is called upon to deliver dialogue, and the majority of the acting appears to be being performed by his beard and the lines around his eyes. An accomplished actor could have made more of this role, and it ultimately seems a waste that Schwarzenegger was cast, even if kudos are due for stepping out of his action centric comfort zone.
On the other end of the spectrum Breslin is superb, and carries the film as the titular character. She delivers a nuanced performance as a young woman facing both her own mortality and the knowledge of what she will eventually become, and it's a real shame that Hobson didn't give her more screen time. Of the supporting characters only Joely Richardson is given much to do as Maggie's god fearing stepmother, and again it would have been interesting to see more focus given to her reactions to Maggie's illness.
The film is shot beautifully, with plenty of wide shots conveying the isolation and emptiness of the world surrounding the Vogel farmstead. The colour palette is suitably washed out and bleak, although there are moments when the image is almost too dark. However there are moments when it feels as if a particularly visually arresting scene could have been cut in order to move the story along.
Overall, this feels like a nearly but not quite, and you can't help but wonder at the missed opportunities. Although I would still recommend this film a wonderful performance from Breslin isn't enough to save the film from some serious pacing issues and Schwarzenegger's uneven work.
The Sleepover (2012)
Smart and hilarious
Woodsboro. Haddonfield. Crystal Lake. Fictional locations that have all shared the same, shameful burden; the serial killer. Luckily for us our own visitations to these cursed spots are limited to just a couple of hours; imagine having to grow up in a town with its very own knife wielding psychopath.
So goes the premise for The Sleepover. Coming from writer/director team Jennifer Raite and Chris Cullari, the flick shows a typical night in a town where the local serial killer is considered less an unstoppable force of nature and more like a minor irritant, albeit one that carries a machete. Cars have bumper stickers supporting Moms Against Serial Killers (MASK), sleepovers have a check list of rules to follow and babysitters are specialists in armed and unarmed combat.
Although not the scariest, The Sleepover is both smart and hilarious, effortlessly twisting the deeply ingrained tropes of the slasher movie genre. The film was made as a proof of concept, and won official selection at a host of festivals, including Fantastic Fest, Shriekfest, Seattle International Film Festival, Florida Film Festival, Vassar FilmFest and the Knoxville Horror Fest. Fingers crossed it eventually makes it to feature.
Dark Skies (2013)
Takes the modern format of haunted house horror and puts an extra terrestrial twist on things
From the writer/director of Priest and Legion and the producer of Paranormal Activity and Insidious, Dark Skies takes the modern format of haunted house horror and puts an extra terrestrial twist on things, resulting in a film that, while still playing the same four notes, at least manages to get you tapping your foot a little.
Drawing on the likes of Signs and Poltergeist, Dark Skies tells the story of the Barrett family, a typical American family struggling to cope with the realities of the recession. Husband Daniel (Josh Hamilton) is struggling to find work, leaving wife Lacey (Keri Russell) to bring home the bacon and raise their two sons Jesse (Dakota Goyo) and Sam (Kadan Rockett). But soon paying the rent becomes less of a concern when their relatively peaceful lives are violated by a series of inexplicable and disturbing events. At first the incidents are minor and seem to be the work of Sam and his active imagination. But as things begin to escalate and the health of the whole family begins to suffer, Daniel and Lacey are forced to look for explanations beyond the realms of the terrestrial.
With the recent trend towards cheap jump scares and too much exposition in modern horror you could be forgiven for dismissing Dark Skies as another in a long line of mediocre Hollywood dross, but the truth is that there is a lot more to like than dislike about this film. By keeping the run time at a trim 97 minutes, the story is allowed to progress at a good pace that allows the director to create a sense of dread and tension amongst the audience without dragging things out. The family's financial predicament is something that many can relate to; creating a sense of empathy towards their plight that is missing in many other films in this genre. And by keeping the aliens as a shadowy background menace rather than forcing them into the audience's faces you never feel yourself being pulled out of the story.
The performances from the cast are strong all around, with the two leads forming a good on screen chemistry. Goyo plays his role well, conveying the confusion of a young man struggling with the onset of puberty, while Rockett is alternately adorable and creepy as the youngest son and apparent focus of the visitor's malicious intentions. But the best performance comes from J.K Simmons as ufologist Edwin Pollard. Conveying an almost haunted acceptance of the invasion into his life by the Greys, Pollard's matter a fact assertion that the alien threat is real convinces the Barretts of the reality of their situation and is masterfully played by Simons.
So while the scares are typically predictable (and are accompanied by the now industry standard jarring soundtrack), and the big reveal at the end is pretty much redundant given the sledgehammer subtle hints that it surmises, this is a surprisingly decent horror film that will stay with you in a way that the likes of Insidious and Sinister couldn't manage. Ignore the slightly contrived ending and sequel set up and just enjoy.
Hell Baby (2013)
Original possession horror comedy
In the past decade the horror genre has been besieged with a string of parodies and spoofs, to the extent that one can be forgiven for feeling a strong case of déjà vu when the trailer for Scary Movie 15 is rolled out at the local multiplex . The latest offering in this sub genre is Hell Baby, a possession spoof written and directed by Reno 911! creators Robert Ben Garant and Thomas Lennon and a film that, against all expectation, manages to breathe a little life and originality back into a concept that is long overdue for some freshness.
Expectant parents Jack (Rob Corddry) and Vanessa (Leslie Bibb) end up with more than they bargained for when they purchase a rundown house in the worse neighbourhood in New Orleans. Warned of the house's murderous history by their neighbour/squatter F'Resnel (Keegan Michael Key) the couple soon begin to experience strange goings on in their new home, and when Vanessa herself begins to exhibit signs of possession a collection of inept cops, faith healing in-laws and surly priests descend to try and prevent the Devil begin reborn on earth.
Despite its rather unsettling plot description, borrowing from such classics as Rosemary's Baby and The Exorcist, Hell Baby is very much a comedy with only light sprinklings of horror. A few jump scares aside there is no attempt to build tension or suspense, and the whole possession/demonic baby theme is used merely as a vehicle for the laughs. Not that this is a bad thing of course, and Hell Baby should be commended for managing to feel original at a time when every other horror spoof follows the same tired formula. It is refreshing to see a parody that does not always go for the lowest common denominator, and while there is a slight over reliance on repetitive sight gags the majority of the jokes manage to land.
The feeling of originality is aided by the performances of the main cast, and it should be no surprise that the film's tone skews more towards chuckles than shrieks given the comedic pedigree on display. The ever reliable Corddry plays the straight man with aplomb, with his reactions and slow unravelling helping to elevate each set piece he features in. Bibb is suitably convincing as the possessed and heavily pregnant Vanessa, while Key arguably steals the show as the flamboyant and inappropriate provider of exposition F'Resnel. Unfortunately things are let down by the support, with Lennon and Garant's stereotypical priests never raising more than a stifled chuckle and Paul Scheer's half of a hapless police duo struggling to achieve the heights of his roles in The League and NTSF:SD:SUV.
Hell Baby is the sort of film which is always going to attract snark and negativity. The last 15 minutes run out of steam, there are some jokes which feel a little tired, and some of the questionable decisions made by the characters for the sake of driving the story will likely leave the audience rolling their eyes. But scratch a little deeper and there are some genuinely clever genre elements and observations to be found, as well as a good few laughs along the way. In all, a perfect film for when you want something a little less demanding but don't want to sacrifice quality in order to get it.
L'arrivo di Wang (2011)
A solid, low budget Sci-Fi film that does more right than wrong
When translator Gaia is contacted by a previous employer, he seems to be offering her nothing more than a simple job. Two thousand Euros for a day's work seems like a pretty good deal, but when the mysterious Curti insists she wear a blindfold to travel to their destination the suspicion sets in that this may be a little more than a simple translation gig. I shan't say anymore for fear of spoiling things, but my advice would be that if you intend to watch this film you avoid as much detail as possible. In fact, I'd advise you just stop reading and go watch the film now. For those of you who need a little more convincing then please read on, but you have been warned.
While clearly a low budget picture, The Arrival of Wang is never the less a good example of how less can sometimes be more. This is most evident in the first two thirds of the film, where most of the action takes place in one room. Providing us with a disturbing glimpse into how we as a race are inclined to treat things that we do not understand, the film does a great job of contrasting Gaia's horror and compassion with Curti's distrust of, and hatred for, alien prisoner Wang, who has been discovered on the streets of Rome. Lead actress Francesca Cuttica does a great job as Gaia throughout, and her dread of what Curti is going to do as Wang continues to plead his innocence is palatable at points. Many have compared this film to the likes of The Twilight Zone and The X Files, but for me it has more in common with Neil Blomkamp's excellent alien flick District 9, playing on those same themes of fear and distrust for those who appear different.
Of course, that's not to say this film is on the same level as that South African classic. The creature effects are passable when the alien is seated (and we are provided with some real expressions of fear and pain when he is under interrogation) but tend to fall apart when he is in motion. The direction is decent without ever being great, and the story feels a little rushed in place, crying out for a little more build up between the big reveal and more time to let the tension increase before the admittedly lacklustre last 15 minutes.
Buoyed along by some good performances, a good script and some uncomfortable reminders of what probably awaits for ET should he ever decide to set foot on our little rock, The Arrival of Wang is a decent example of low budget Sci Fi done right. For fans of the genre, and anyone who likes their science fiction a little more ambiguous, it's definitely worth checking out.
The Paranormal Diaries: Clophill (2013)
One of the stand out horror films to come out of Britain in recent years
Combining elements of Most Haunted, Blair Witch Project and The Wicker Man in a documentary melting pot may not sound like the most entertaining concept for a horror film, but then Clophill is not your average horror film. This latest feature from Off World Films and Bleeding Edge Films is a refreshingly understated and enjoyable take on a sub genre that has been recently defined by decidedly third rate fare.
Set in the actual village of Clophill in the UK, a place that has an actual history of haunting and occult activity, and shot in a documentary style the film follows a group of film makers that has set out to investigate the ruin of St Mary's Church. The now derelict building was once the site of satanic rituals and animal sacrifices, and a history of strange sightings and other paranormal activity has persisted to this day. Surrounded by a frightened and superstitious local population the team sets up for a three day investigation, unaware of what lurks at the old graveyard or what danger they may be in.
While undoubtedly marketed as another found footage affair, PD:C is very much a mockumentary; the first third of the film is made up almost entirely of interviews and voice over work. This adds credibility while allowing the filmmakers to let the situation dictate their exposition, without the over reliance on otherwise banal dialogue. This approach also allow the viewers to build a rapport with the characters and the situation, which helps to buy into the more traditional found footage horror elements of the film's final act. It's also worth nothing that the crew have confirmed that around 90% of the on screen action was based on actual experiences of the team while filming.
For people expecting a traditional, jumpy horror they are likely to be disappointed; PD:C is much more interested in building tension and atmosphere than throwing out cheap scares for ninety minutes. The film has more in common with the BBC's paranormal mockumentary Ghostwatch than Paranormal Activity, as the on screen action is presented in such a way as to be completely genuine. The scary moments, when they do come, are subtle and designed to make the hairs stand up on the back of your neck rather than force your bum from your chair. And while the inclusion of the post investigation interviews does add an element of predictability to proceedings it never affects the tension.
The performances of the cast are perfect across the board, and it never feels like watching anything but a sincere documentary film unfolding. The editing and setting are both spot on, and the camera work is admirably steady and a world away from the usual motion sickness inducing pap we have grown used to. There is a very British, stiff upper lip feel to the film that will certainly appeal to UK and European audiences. The story is very well written and executed, although if one were to pick a fault it was that the ritual element of the films last third could have been left on the cutting room floor with no detriment to the overall experience.
While PD:C may alienate a portion of the modern horror audience that has grown used to jump scares and gore the more discerning fan is likely to appreciate its attempts to do something different, shunning the predictability that this sort of film usually emits in great, stinking waves. One of the freshest and most enjoyable entries into the found footage genre we have seen in years, and one of the stand out horror films to come out of Britain in recent times.
Heretic (2012)
A great modern day ghost tales
Britain has a great tradition of ghost stories. Our rainy isle seems to be the inspiration for countless supernatural shenanigans, and our history of great spooky storytellers, both in literature and on the silver screen, is as long as it is distinguished. Now looking to join those hallowed halls is Heretic, a psychological ghost tale from esteemed indie film label 101 films and writer/director Peter Handford.
Father James Pallister (Andrew Squires) is a catholic priest haunted by his own failure to protect Claire (Jen Nelson), a young, vulnerable girl who committed suicide shortly after seeking his help. With his faith shaken and alcohol as his only crutch James is forced to return to his old parish when the girl's stepfather dies in similarly self inflicted circumstances. But when James becomes trapped in the derelict house where the girl took her life he starts to see visions and ghosts of mistakes past. With both Claire and her stepfather seemingly seeking revenge for their fates James must try and escape the old mansion before their final resting place becomes his own.
With all of the classic ghost story elements in place (small sleepy village, eerie house and a tragic death), Heretic is a quintessential tale of guilt, remorse and revenge from beyond the grave. While it sticks to the conventions of this genre for the most part there is enough variety to avoid the whole film feeling stale, with the religious themes in particular likely to inspire introspective and debate once the lights have come back on. Peter Handford should be commended for shunning modern horror's obsession with the jump scare for a slow burning tension that subtly draws the viewer in, with the on screen action playing out like an adaptation of an M.R. James or Susan Hill story before dovetailing into a more visceral, psychological thriller in the final act.
While the majority of the cast are solid Andrew Squires deserves a special mention for his accurate and engaging portrayal of the inner turmoil of a man struggling with both a crisis of faith and his own guilt over the death of his young charge. For the majority of the file James is a quiet and subdued character but Squires still manages to bring a great deal to the role, leaving you with the impression that the young priest was struggling with his faith long before Claire decided to kill herself. The cinematography is good throughout and we are never quite sure which of the visions are actually happening and which are simply in the young priest's head, and both the score and the editing are top notch. The story proceeds at a good pace and does an excellent job of filling in more details as things progress, drip feeding just enough information to keep the audience interested while keeping enough back to add a sting in the tail.
Unfortunately, by the time the twist does come, things have become a little convoluted. A few strange coincidences and narrative devices are employed to drive the film onto its conclusion, and while Heretic is certainly not the first horror to stumble in the final third (and is by no means the worst offender) it's a shame that such a well crafted and atmospheric story is let down by a slightly heavy handed finale. Some may also find the opening thirty minutes a little slow if used to faster paced horror fare.
Straddling the line between psychological horror and old fashioned ghost story, Heretic is a tragic tale of repressed anger and lost hate that will stick with you long after the credits roll. Taking the viewer through a journey through faith, loss, revenge and the limits of conscience this will hopefully be remembered as a great modern day ghost tales.