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johnnybritton
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The Den (2013)
Excellent
I rarely write reviews on IMDb, but felt compelled to do so for this movie. Good horror is hard to find, and so I felt the need to recommend this movie.
I am an AVID film fan, and I love a huge variety of movies (personal faves being Jaws, Shawshank, Moulin Rouge, Dancer in the Dark, directors like Spike Jonze, Scorcese, David Fincher
). I say this to give some reference – I understand the dynamics of movies, and what makes the great ones great. But, I am also a HUGE fan of well-made popcorn flicks. I can deal with cheesy and suspend my disbelief if the movie is well made and thoughtful in its mission, i.e. 'Speed' as a great action movie (cheesy as all hell, ridiculous in its plotting, but so bloody well- paced and staged that I totally bought into it).
So what does this have to do with 'The Den'? Well, one of my favourite genres is horror, but sadly good horror films are few and far between. Again, for reference – horror that I think is exceptional would be 'Eden Lake', 'Rec, 'Martyrs' – stuff that really gets under your skin. But I also have an affection for schlocky horror that is well done (the remake of 'Texas Chainsaw' would be a good example – the 2001 remake was excellent; simple, nasty, atmospheric, and scary). But too often, horror falls into the cheap-scare camp; basic production values, poor scripting, and reliance on obvious jump-scares, or torture porn (pretty much anything mainstream that has come out in recent years). I watch a LOT of horror, and I'd say at least 10 poor-to-average ones for every good one. So when a good one comes along, I am eager to recommend it. 'The Den' comes HIGHLY recommended by me.
The biggest strength of this movie it's its absolute commitment to the style; everything you see is the screen of a laptop, albeit one that is used by someone whose life revolves around it (kinda like the vast majority of us). So you see the main character's webcam as if you were video-chatting with her, and also the webcams of others she chats with, windows containing her email, messenger-chats, and other applications. It's a brilliant concept, and 'The Den' executes it incredibly well, using these devices to create an entirely believable world, even if some of the plot developments are a little far-fetched. The point is, this universe is created so well that you buy into everything that happens. And when things start to get creepy, the use of these devices by the 'bad guy' becomes inherently creepy. As the movie progresses, there are heart-stopping moments based in what is actually happening ('he's behind you!'), but even more subtle examples, such as how easy it is to be duped by someone posing as someone else, and (in a brilliant moment) the fact that a wiped hard-drive can be so terrifying. If a horror movie is poor, I find myself getting annoyed with the narrative, rolling my eyes and saying 'as if' as the characters do increasingly stupid things. With 'The Den', I was thinking these things sometimes, but instead of rolling my eyes I was shouting at the screen – 'don't go in there!', 'call the bloody policeman in, for God's sake!!!'. When a movie can elicit that kind of response, it's doing something VERY right.
Add into this some decent acting (the characters are not especially likable, but not dislikable either – pretty regular people), and also an admirable refusal to go the crowd-pleasing route (to say more would be unfair), and the net result is a lean, mean, sometimes nasty, but always engaging suspense-horror – one of the best genre examples I've seen in some time.
Carl (2012)
Absolutely dreadful and utterly pointless
If, like me, you were cruising through 'new and noteworthy' horror on itunes via Apple TV and thought this looked like it might be one of those rare occasions where you stumble across a hidden gem then be warned, friends - this really is one of the worst movies I have had the misfortune to suffer through in a VERY long time.
I love horror. I love classic horror, indie horror, French horror, Asian horror, even the odd Hollywood horror can cut it - IF it's grounded in something truly unsettling, and treated with respect by its maker. I especially like indie horror. Small budgets don't phase me at all. I recently found the movie 'Absentia' on itunes; low-budget for sure, but made with conviction and despite its shoestring finances it actually managed to pack a wallop.
Unlike this pile of dirt.
The 'plot' (no spoilers) involves an impossibly happy city couple having a little vacay in an un-named backwater town, and running foul of a local boy and his Ma, who are looking to find the simpleton son a mate.
When this started, I was encouraged. Some nice opening credits, and even though the early scenes seemed ridiculously hokey (the set-up of the lead couple and their state of blissful happiness - complete with slo-mo frolicking in a fountain - should really have been my first clue of what was to come) there was some lovely imagery. And I have to say that the small cast does a pretty good job of working with absolutely nothing. That's where my praise ends.
As a director if you are working with a micro-budget, you'd better either have something new to say or at least be able to give us a fresh spin on an old theme. 'Carl' does neither, instead rehashing every cliché from every horror flick concerning small-town hicks and religious nutbars. There's a hick family of indeterminate number (aside from the main 'house of horror' it would seem that the townsolk are in on the plot to do away with the sweet city-folk lovebirds - but really, it's just hinted at and you're never really sure - nor do you really care). This is like watching The Texas Chainsaw Massacre or The Hills Have Eyes but with none of the panache of the originals - and none of the production values of the remakes. As a viewer, if I am going to invest time and money in a small indie film I really do expect something unique. I am extremely forgiving if you can deliver a movie that makes me think, or at least presents something a little different.
The 'plot' makes no sense, the 'characters' are horribly fleshed out, the narrative is all over the place, the violence is not challenging, rather just a little unpleasant because it doesn't mean anything... and worst of all, it's made with that awful smugness, you know the vibe... where a shot is set up in such a way where the filmmakers truly feel that they have done something amazing, but where really the viewer just scoffs and says 'really?'.
I wanted this to be in the vein of Ty West's 'House of the Devil' or 'The Inkeepers' - neither perfect movies, but at least displaying some affection and respect for the genre - but instead I honestly found myself literally suffering through every horrible cliché and every mis-fired attempt at suspense.
Please, do yourself a huge favour and avoid this catastrophe.
The Cabin in the Woods (2011)
Don't insult me. I'm a true horror fan and I LOVED this
To the reviewer who said 'if you're a true horror fan over the age of 15, you will HATE this'... how wrong you are. Maybe you forget the pure joy of sitting in the dark and screaming and laughing? I LOVE movies and I LOVE horror. I am a true horror fan. I am 35 years old. I have a degree in film and cultural studies and I am passionate aboute the craft. But not just the craft of making art, also about the craft of making excellent popular movies. This is a great example of the latter.
FYI, my favourite horror movies include 'Martyrs', 'Rec', 'A Tale of Two Sisters', 'Rosemary's Baby' and 'The Shining'. That said, I truly enjoy a balls-to-the-wall well-made horror gong-show and this is that movie.
Is it perfect? Of course not. But it IS the most entertaining, risky mainstream horror in recent years. Yes, risky. 90% of mainstream US horror these days is so by-the-numbers-cell-phone-brigade-friendly it makes me want to cry. TCITW turns that on its head; I can honestly say I had no idea who would live or die and what the hell was going to happen next. It is genuinely funny, and even for someone who had pretty much deconstructed the trailer, the third act was not what I was prepared for. I knew something twisted was coming; who didn't? But the execution was excellent. Unicorn disembowelling?! You think the filmmakers threw that in there for any other reason than to be ridiculous? We are post-post modern now. Embrace this for what it is - a whacked out, well made and knowing horror-comedy that pushes all the right buttons.
YellowBrickRoad (2010)
70% excellent but takes a serious mis=step in the third act
For the first 70 minutes of this film, I thought I had found my new favourite horror movie. There are sequences here that will take your breath away - IF you are a fan of true psychological horror and not the mainstream CGI crap that hits the multiplexes. The concept is fascinating, and the set-up is superb. The sound design of this film is flawless, and has one of the best uses of music I have ever experienced. The music... it's skin-crawling, and is almost a character in the movie. Likewise, the violence and gore. Very underplayed, timed well and not gratuitous. But when it hits, it's incredibly effective.
But then something goes awry. The plot becomes muddled and almost self-important, the actions of the characters don't really add up... it almost feels like a different film than the intense, slow-burn of the first two acts. It reminded me of 'Insidious' in this regard; incredibly good for the first two thirds then becomes too hokey in its final reel.
It's a shame, because this had the potential to be a genre classic. As it is, the unconvincing third act makes this an effective but ultimately unsatisfying film.
Paranormal Activity 2 (2010)
Solid yet forgettable
Approach this sequel to last year's mega-hit as you would a haunted house at the fairground; expect to scream a lot, laugh at yourself for it then move on and forget it until next year. If you do, you'll have a blast.
The story's the same; family set up security cameras after break-in, only to discover burglars are the least of their worries. There's a neat tie-in to the events of the first movie (this is a prequel) and the spooks have a bigger cast to mess with – including a toddler and a dog (both used to excellent effect).
There's lots to criticize, of course, from the soap-opera performance of the Father through to the laughably clichéd 'hired help' (Latin American and therefore does nothing but waft incense, clutch her rosary beads and mumble to herself in Spanish. As Latinas do).
But as a crowd-baiting horror experience it rarely puts a foot wrong and, let's be honest, this is why we're here. The best elements of the first movie are played on exceptionally well, with endless silences and long static shots of nothing kicking the suspense up to often unbearable levels. Sometimes there's a 'big jump' payoff, sometimes there isn't but the fun, of course, is in the drawn-out anticipation. The 'security camera' angle adds a different, unnerving narrative feel and the ratio of actual 'paranormal activity' compared to the first movie is about 5:1 – with two big scares alone validating your ticket-spend. Slick, quick and mindless and all the better for it.
Martyrs (2008)
A horror masterpiece
Almost banned in its native France, dividing audiences at Cannes and pushing the envelope in its stark depiction of violence, this latest entry into the new-era French horror cannon (think 'Haute Tension' and 'A'l'interieur') arrives with quite the following.
It's hard to give plot details without spoiling the overall effect, so we'll just suggest you rent it instead. 'Martyrs' contains so many 'WTF?' moments you may well find yourself pausing the DVD several times; not to work out what's going on (everything is tied together in the jaw-dropping final act), but to take a breather. It's that intense.
Watching 'Martyrs' for the first time is a unique, disorienting experience. Genre conventions are toppled almost immediately, when the expected revenge-horror that the movie sets itself up with gives way to Grudge-like supernatural episodes and finally an extended sequence of endurance that will test the mettle of even the most hardcore horror fan. And the gruesome finale – along with its accompanying message – will stay with you long after the credits roll.
A must-see for fans of smart horror, 'Martyrs' is a raw, intelligent and brutal masterpiece that towers over shoddy American counterparts such as 'Hostel' and the 'Saw' series. The quality of filmmaking on display here is sublime, from the flawless acting of the two female leads to the gorgeous cinematography and the stellar use of sound. Perhaps what's even scarier than this movie is the fact that up next for director Pascal Laurier is a remake of 80s horror classic 'Hellraiser'. Be afraid. Be VERY afraid
Julie & Julia (2009)
Satisfying comfort flick
Take Julie Powell's blog-to-book chronicle 'Julie and Julia: My Year of Cooking Dangerously'. Blend with Julia Child's rich memoir, 'My Life in France'. Add a generous helping of 'The Greatest Actress of Our Time' and – voila! – you have a rich and tasty entry into the mini-genre of food movies.
The big draw here is the formidable Meryl Streep, whose pitch-perfect, affectionate portrayal of the culinary doyenne is simply sensational. Warm, appealing and often heartbreaking, this is an actress at the top of her game. Expect a 16th (16th!!!) Oscar nomination. Amy Adams is as good as ever in the kind of comely and endearing role that is becoming her trademark, and the two correlating stories (Julia in 50s Paris and Julie in 2002 New York) ensure that both younger and older audiences have plenty to feast upon - a clever narrative move that ensured the film's commercial success.
Most surprising is Nora Ephron's assured direction. For once managing to not serve up a steaming pile of over-cooked schmaltz (John Travolta misfire 'Michael', anyone?) Ephron here recalls the irresistible whimsy of earlier hit 'Sleepless in Seattle'. The overall result is unlikely to win a Golden Plate award, but it IS cinematic comfort food of the highest order; rich, warming and deliciously satisfying.
Devil (2010)
A wasted opportunity
Despite not actually having had a critical hit since 2002's 'Signs' and directing two of the most critically drubbed movies of the last couple of years ('The Happening' and the truly dreadful 'The Last Airbender'), M Night Syamalan still feels warranted in launching his own branded trilogy, egotistically titled 'The Night Chronicles' (see what he did there). Thankfully, he's only on writing and directing duty for this first instalment. Quarantine director John Erick Dowdle takes the helm of this Hitchcockian cautionary tale of five random strangers who are trapped in an elevator of a nameless office building. Unknown to them, one of them is the devil. The situation quickly descends into paranoid chaos as the stranded strangers become increasingly erratic – and dangerous to each other. It's a neat concept, and one which was sold incredibly well in a slick and targeted marketing campaign. Sadly, all the potential shown by those nifty posters and trailers is squandered on an entertaining but forgettable yarn that proposes some great ideas but doesn't capitalise on any of them. The major mis-step is periodically taking the action out of the confines of the doomed elevator. Just as the tension starts to mount inside the car and any sense of dread creeps in, we cut to the two-dimensional cops that are watching events unfold on the security monitor. The net result is an extended Twilight Zone episode that would be perfectly serviceable as a TV special but just doesn't cut it as a major movie. The Shyamalan career-tailspin continues unabated.
Burlesque (2010)
Does exactly what it says on the box, and does it well
Cher! Christina! Sequins! You know exactly what you're getting into with this movie. And it's director Steve Antin's same approach that makes 'Burlesque' click. A movie like this will never be mistaken as brilliant cinema and Antin wisely keeps the politics light and the narrative tight, focusing instead on the towering presence of his two divalicious stars and a series of well-crafted musical numbers. The result is a competently-made, paper-thin pleasure that would be easy to criticise if it weren't so deftly handled. Christina Aguilera (as the small-town girl with big-time ambitions in a story that's been told a thousand times before) is no Meryl Streep but she holds her own here and truly excels when given the opportunity to do what she does best; put that incredible set of pipes centre-stage for her many show-stopping musical numbers. It's Showgirls-minus-smut meets Cabaret-minus-social-commentary. Cher, of course, tears up the screen and owns every shot she's in and it's an absolute thrill to watch this Grand-Dame of Divadom back in the musical spotlight. Stanley Tucci and Kristen Bell give able support in roles they have both played before, and 'Burlesque' brings all these elements together in a way that makes you want to watch it over again whilst at the same time being not-quite-brilliant. The 14A rating means it's lacking the edge that could've elevated this to camp-classic status but as an unapologetic, well directed and good looking treat this hits all the right buttons. Oh, and the soundtrack rocks.