Tag Archives: horror

The Cabin in the Woods : Beware of the Hype as well as the Spoilers


The Cabin in the Woods has set sections of the internet ablaze with excited chatter. It’s been dubbed by many as a ‘game changer’, which chews up the horror film genre and spits out a deformed, witty and mind blowing analysis. Whilst it is an undoubtedly clever deconstruction of a genre, it is also very vulnerable to being overhyped, like a lot of modern movies.

Friends and colleagues left me in a state of feverish excitement before I saw the film. Their ranting and raving catapulted my expectations into the stratosphere. I was already aware of the positive critical buzz but it’s ultimately the endorsement of those that you trust that tips the balance. I spent the entire runtime of The Cabin in the Woods waiting for great things, which never quite materialised.

Ideally you should see the film without reading or hearing anything about it. However, for most of us, that simply isn’t realistic in today’s world. Before you decide to see a film you have to be convinced, by a trailer, a poster or a good old fashioned review. The trailer for The Cabin in the Woods drops a few huge hints towards its ‘game changing’ premise. I was assured by those who had seen it that the twists and turns still had tremendous impact. For me, they simply didn’t.

The Cabin the Woods is still a good film, stuffed with quality and interesting ideas. It begins by introducing us to a set of characters, all archetypes in their own way; there’s a geek, a jock, a stoner, a hot chick and a good girl. All of these characters are then fleshed out deftly, with unusual skill and some cracking dialogue. In fact most of the dialogue, from a script co-written by director Drew Goddard and Avengers chief Joss Whedon, is top notch. It’s refreshing to see a horror film in which characterisation is given so much care and attention. The problem is that the clever premise of the film, which I’m trying not to spoil, leads to a rapid unravelling of the plot without any great sense of peril.

Indeed, most reviews have pointed out that the key flaw of The Cabin in the Woods is the lack of genuine scares. The reason for this is obvious now that I’ve seen it; it is primarily a comedy in tone, not a horror. I laughed loudly and uncontrollably at several points, no doubt irritating those around me in the cinema trying to be frightened. Its entire structure and plot exposes the ridiculousness of the horror genre. The jaw dropping twist turned out to be ludicrous, simply reinforcing the point.

Whedon and Goddard describe the film as a ‘loving hate letter’ to horror movies and it is ultimately hate dressed up as love. The force of the narrative is limited by the grand in-joke. Had the horror been better paced and more arresting, The Cabin in the Woods would have edged closer to being great and compelling, rather than good and interesting.

DVD Review: Moss


No one likes disappointing a friend. I’m sure “stop letting friends down” or “make more time for people I care about” will rank highly amongst the more realistic New Year’s resolutions made this January. Imagine my irritation then when, just days into this New Year, a film of my choosing was a source of both disappointment and bafflement as I met a friend for the last time in at least weeks, perhaps months.

There’s nothing quite like sharing fear. Love might come close, maybe, but fear is much easier to talk about afterwards and grows funnier with hindsight, whilst love’s sadness merely mellows with age. What could be better then, than a horror film send off? Where better to have it than a dark, secluded, silent spot in the wind battered countryside? What better concept for the story than a weird mix of mysterious murderers, seeking salvation from their sins in the supernatural, founding an isolated community and terrorising an outsider to protect their secrets?

I was anticipating a creepy, jumpy thrill ride through shocks and secrets of unspeakable evil. Or something to that effect. Moss is a Korean film and I was therefore expecting it to be free of any British sensibility or pretentious European limitations. I’d heard Korean horror was something to be genuinely feared and was expecting a double barrelled fright fest.

Instead I’m not quite sure what it was we got. It was certainly long. Only just less than 3 hours long, in fact. Moments in the film were clearly intended to be terrifying but I think that Moss’s marketing campaign, which places it firmly in the genre of horror, was misguided to the say the least. But then again I’m not sure what else to call it. The plot is evidently meant to be a complex web of revelations and reverses but I was left, at the end of the marathon runtime, feeling like I’d learnt nothing new. If this is a mystery there is precious little to start with and no more by the end.

The drawn out story follows Yu, who arrives in a remote community after his estranged father (also called Yu) suddenly dies. We learn through regular flashbacks that the older Yu had some sort of spiritual gift, which maverick Detective Cheon decided to harness in order to rehabilitate killers. For young Yu, arriving in an odd and small village of eccentrics, doubts continue to hang over the nature of his father’s death. Did he fall from the land of the living or was he pushed? What exactly was his father doing in the middle of nowhere with this man called Cheon, who everyone appears to worship despite an aura of danger surrounding him?

Moss meanders through themes as diverse as corruption and rape, spirituality and bureaucracy. It never succeeds as a horror because the monsters are in plain sight from the start, with most of them succeeding only at being hilariously inept. One character in particular is so bumbling that had the script tossed him a few innuendos we could have been watching “Carry On Korean Conspiracy”. The lighting undermines any potentially scary moment, even when the soundtrack is trying its hardest to initiate some jitters. The dialogue, at least when rendered as English subtitles, is expositional, dull and far from conducive to horror.

Moss fails to manage a single scare and even more importantly as the story drags endlessly on; it never makes you care either.

The Awakening


Originally published at X-Media Online

There’s an infant poltergeist on the loose in a boarding school. There’s been a death. And worst of all the posh parents are feeling disgruntled enough to contemplate complaining. Who you gonna call? If you’re the debut director of The Awakening Nick Murphy, it’s Rebecca Hall, for her first starring role as ghost buster Florence Cathcart.

A schoolboy’s death from what may or may not have been an unfortunate asthma attack is far too grave a matter for Dominic West’s battle scarred teacher Robert Mallory to convey via telephone, telegram or text however. Being a respectable 1920s gent he hotfoots it to London to beseech Miss Cathcart in person. Whilst reluctant to take the case, as these deductive geniuses always are, she of course accepts and accompanies Mr Mallory to mysteriously sinister rural Cumbria.

In many ways this is a traditional tale that plays out in typical surroundings. There’s a big house with a groaning staircase and rooms full of dusty echoes. There are a handful of characters that might be suspects or allies, each with a secret. There are also the standard back story elements which occasionally add emotional depth but mostly lose the film marks for being clunky, convoluted and cliché.

Indeed many critics have treated The Awakening firmly, claiming that it’s haunted by classics of the genre and ends up being an inexpert imitation, squandering its good points by succumbing to the modern trend of climactic twists. I’d argue these reviewers are looking at the film in the wrong way. There are far more positives than negatives on show from a production that cannot easily be categorised despite its familiar trappings.

Besides being a chiller about a haunted house, The Awakening is also a lovingly drawn period drama, complete with grandeur and detail and an
arresting atmosphere. It addresses serious themes with surprising depth,
touching on tough topics such as shell shock, scepticism of the supernatural,
love and loss. As a result there are passages of dialogue rich in emotional and
intellectual meat for the actors to devour. Perhaps the most pleasing strength
of The Awakening is the sight of Hall and West excelling on centre stage, just
as they have always done in supporting roles.

The Awakening begins as a unique superhero story, with Cathcart unmasking charlatans and battling demons, both society’s and her own, at breakneck speed. Its concluding twist, whilst a little disappointing, works far better than most critics have suggested and does not spoil a good film. Spooky, intelligent and gripping, The Awakening is fine storytelling, inspired, not haunted, by horror classics. And yes I was scared. Out of my seat at times.

My rating: 4 stars out of 5

Film review: The Devil’s Rock


On paper The Devil’s Rock has a refreshing and promising setting. I had high hopes of a different and thrilling horror. It is set in the Channel Islands, which is unusual in itself. Its story plays out on the eve of the D-Day landings, giving the film a period background and all the possibilities of Nazis, gloomy bunkers and heroic Commandos. Throw in generous portions of gore and the temptations of mysterious occult witchcraft, and there are enough ingredients in this film to satisfy your average viewer as well as fans of fright fests.

Unfortunately having the beginnings of a good beginning is not enough. The opening twenty minutes of this film are dull and frankly boring. Two Commandos land on a mined beach aiming to carry out a sabotage mission to distract the Germans from the Allied invasion of Normandy the following morning. One almost blows them both to smithereens by stepping on a mine and this moment could have been far more dramatic.

There are also plenty of attempts to establish characters the audience can care about through the dialogue; the lead figure is missing the love of his life and the reluctant/bumbling one just wants to hurry home for medals and the inevitable hordes of adoring women. He’s got a date with a nurse the next day. Yup that’s right, on D-Day. The characterisation is clumsy and tries too hard, feeling far too out of place to be believable. Yes soldiers like anything feminine with a pulse, no elite Commandos probably didn’t discuss tits when negotiating a beach stuffed with explosives.

I’m still not quite finished with the weaknesses of the beginning. It all gets very predictable very quickly. The pair hear noises and they split up, as is the tendency of daft victims in horror films. They stalk around the echoing corridors of a defensive bunker, presumably while the tension builds to gripping levels for the audience. Well what should be an incredibly suspenseful sequence in an atmospheric environment is actually plodding and uninteresting. Essentially you are watching two men with guns walk very slowly down identical, bare hallways, waving their weapons about needlessly. The score doesn’t affect your mood because the ominous music started ages ago, when they had just landed and there was no immediate supernatural danger.

Eventually, after what feels like an age but what was actually only about half an hour, The Devil’s Rock gets to the meat of its story, which turns out to be some disappointing and mass produced packet ham available from any cut price supermarket. There is nothing fresh or creative about the taste of this film once it shows its hand.

Captain Ben Grogan (Craig Hall) has to deal with a Nazi Colonel who claims to need help to contain a dangerous creature he has summoned on Hitler’s orders. The Devil’s Rock is a production from New Zealand, so one of the key limits on your immersion in the story is Matthew Sunderland’s terrible German accent. Blood, intestines and guts are splattered around the walls. The fate of the world and the war is at stake, etc, etc. When the monster is shown in full view it looks ridiculous and laughable and any final hopes for the film fade away.

Having said all that The Devil’s Rock is still a film capable of satisfying some horror fans with some distinctive features. Its finale is intense and reasonably well executed, even if I was no longer invested in the story and everything seemed a bit silly by then. If the words “sexy devil with an appetite for human flesh” appeal to you, then this might be worth a watch.

Blu-Ray Review: The Silent House


Whatever happened to traditional ghost stories set in creepy old houses? Modern horror has become a competition between filmmakers to outdo each other’s gore or to find the latest and cheapest gimmicky trick (think Paranormal Activity). Rarely do we get creaky doors teasingly opening wide into dusty rooms frozen in troubled times. Rarely are the scares psychological, preying on childhood fears of monsters under the bed and the empty house that sighs forlornly from somewhere in its darkened depths at the end of the street. Rarely do bold, genius storytellers emerge from the ranks of horror directors these days.

Director Gustavo Hernandez is certainly brave. His chiller, The Silent House, is based upon an unsolved murder case in 1940s Uruguay. It is set within a seemingly picturesque, isolated and derelict house in secluded woodland.  It is also filmed in one continuous take.

The effects of this are engrossing. The ambitious and meticulous technique works especially well for horror and has a surprising versatility. The camera essentially becomes a character. At first we feel like main character Laura’s imaginary friend, bobbing along behind her as she looks round the outside of the pretty house and listening in absentmindedly on the conversation between her father and the owner of the house, Nestor. Then later on, whilst still feeling tethered to Laura’s experience, we take up different positions and hiding places. Consequently we see things she cannot. And she sees, and does, things that we miss altogether.

Laura and her father are supposed to be clearing up the messy house filled with accumulated junk. They decide to sleep in the living room on armchairs and make a start in the morning. The owner Nestor has promised to return with food at some point. Laura does not drift off however. She is too distracted by the pounding noises from upstairs. She eventually convinces her father to investigate and then the nightmare begins. 

Light and sound are always integral to successful horror. Here the atmospheric lighting is achieved through candles and electric lanterns mostly. One scene however, in which Laura picks up a camera when the lights go out, is comprised of glimpses of the horror via the flashes of the Polaroid. This was impressive, immersive and shocking. The sound effects are vital to the endless suspense, with the score also eerily winding up the tension to unbearable levels.

The Silent House is an amalgamation of old fashioned scares and modern frights. The setting is full of strange objects, antiques and family heirlooms cluttering the rooms. Multiple doorways leave hiding places everywhere. Later in the story though the scares become nastier, more brutal and unsettling, resembling the darker trend of recent horror flicks. The dialogue is minimal, so we never learn much about Laura. We simply share some of her experience. The shocks and surprises catch you off guard and the twist at the end comes out of the blue.

For cynical viewers, there are of course the usual annoyances of the genre. Why does Laura choose the moments after a vicious attack to become fascinated by bits of junk? Why does she minutely examine paintings and photos when she knows someone is lurking beyond the door? Why does she return to the house after escaping in a wave of fear? Why does no one contact the authorities?

The incredible suspense and the plots holes in this film really got me thinking about the ordeal of the psychopath perpetrating the horror, as well as the victims. At one point (minor spoiler) a body is moved to be propped up in a chair with a doll. How embarrassing would it be to be caught moving the body? The attackers in these films, who are determined to taunt their victims, must be as nervous and jumpy as the audience as they set up their disturbing scenarios in the shadows.

The genuine ambush of the twist at the end explains a lot of these holes and weaknesses, which would be left glaringly and irritatingly untouched by your average horror. The Silent House is far from average though. It is rightly hailed as a “technical tour de force” by The Guardian and its trailers can justifiably claim to offer “real fear in real time”. By avoiding the sometimes messy and often over the top cuts of most modern fright fests, and adopting a refreshing perspective on events, this film really drops you right into the action.

The Silent House is out on DVD and Blu-Ray on the 1st of August. Go for the Blu-Ray version if you really want to appreciate the achievements of the filmmakers, in particular the lighting effects. Also keep an eye out for the Hollywood remake, as the rights have already been snapped up.

Undiscovered Cinema: Missing Pieces


Most of the time the depressing aspects of the film industry escape our attention. We are happy to simply be entertained and not think about the hard work behind the scenes, the promising projects that wither and die before a general release. If you really love films or you write about them, the downsides are clearer. You will see and fall for films the general public (or perhaps the suits responsible for getting it to them) don’t appreciate.

My point is that once in a while you have to say something and make a stand, however small, against the prevailing culture. History is written by people who challenged the status quo, refusing to accept that “it’s just the way things are”. Missing Pieces is a fantastic film, with a startling story cutting close to the core of a whole range of emotional truths. It is modern and gripping, clever and well executed. And even if others aren’t as enthused by it as me, the quality is evident and it deserves a general release, which it doesn’t currently have.

In a world where the fourth Pirates of the Caribbean film and The Hangover: Part II are breaking box office records despite their overwhelming lack of orginality, genuinely original creations that are works of art as well as good filmmaking, slip through the cracks. My Missing Pieces review is below and can also be found here at Flickering Myth: http://flickeringmyth.blogspot.com/2011/06/movie-review-missing-pieces-2011.html

Read on if you’ve got two minutes spare and support it however you can. This film deserves to be discussed.

Originality is what I always strive for in a review. Why read my specific review if it’s just a regurgitation of what a more learned critic said? I always feel unsatisfied if there’s not something, a line of description or paragraph of praise, which feels like my signature. Sometimes though all you can do is record your reaction. A film might be so atrociously bad that all you can do is spend an hour pouring hateful words over it. Or it might be so amazingly and astoundingly good that you just gush in delight about it inadequately.

Missing Pieces is just such a hidden gem that reduces me to strings of clichés. It nails originality on the head. I was literally “blown away” and completely surprised by the way this film personally resonated with me. It is the most enjoyable and emotionally satisfying movie I have seen this year. I cannot remember the last time I identified so deeply with characters or felt so absorbed in a drama. At over two hours long it is not short but I did not want it to end.

It’s the story of David, played by Mark Boone Junior (Batman Begins), who has been in a car accident. His injuries from the crash left his mind all mixed up, as if someone had taken a puzzle box and shaken it until all the pieces are jumbled. We never really see the fragmentation of their relationship, meaning that we see things almost entirely from David’s perspective, but the love of his life leaves him. Played by Melora Walters (Magnolia/Cold Mountain/The Butterfly Effect) Delia appears now and then to collect her stuff, angrily shouting that she wants the real David back. This leaves him confused and hurting, determined to try every trick in the book (and more) to win her back.

Clearly David’s mental state has been altered. In one striking but baffling scene he calmly smashes some cargo in an empty children’s play area. In others he watches the comings and goings of two of his young neighbours. But this he does because of loneliness, not brain damage.

I don’t really want to spoil the key element of Missing Pieces as I found it such a joy to watch completely uninformed. SKIP THIS PARAGRAPH if you wish to avoid it, although I suspect Missing Pieces will not lose much of its power from what I am going to say, as its plot is impossible to summarise. David becomes gripped by a self help tape and is inspired by the artwork of his departed girlfriend. He concocts a strange and deluded plan to win Delia back; kidnap the boy and girl he watches and make them fall in love. He believes if he observes true love he can learn the intricacies of successful romance.

There is a teasingly sinister undertone running throughout the distorted narrative, which heightens the suspense and pulls you to the edge of your seat. Missing Pieces plays out in the wrong order; you’re not sure if plot strands are taking place before or after the central ordeal. Newcomers Daniel Hassel and Taylor Engel, as Daylen and Maggie, are superb, together and apart, as a young boy and girl with troubled families, on an odd journey from suspicion through friendship to love. They form an instant connection, vividly realised through the chemistry of the actors, but they never would have met but for being thrown together by a normally harrowing experience.

Missing Pieces is influenced by a myriad of modern movies and directors but pulls together ideas from numerous genres to tell a completely fresh story. There are strong echoes of Memento, which Boone Junior also starred in, along with components of modern horror, Paul Thomas Anderson, romantic comedies and the indie scene. It addresses themes of love, loss, sadness and happiness. It touches on far too many issues to mention but it always has something true to say. It captures a little of the human condition and the universal desire for purpose, meaning and intimacy. Most of all I was struck by its message of reaching out and ignoring the limitations of social convention to say how you feel before it’s too late.

Perhaps such a message warms the hearts of young people more easily. And what makes Missing Pieces even more remarkable is the youthful team behind it. It is the brainchild of Kenton Bartlett who decided to make a movie when his carefree student life suddenly ended. A 30 minute Making Of feature is enlightening, entertaining and moving, as Kenton struggles through the unexpected scale of the challenge. It’s evident the film went through multiple edits to become a staggering, coherent final product.

Words don’t do Missing Pieces justice. Discovering new talented filmmakers and musicians (the film also has wonderful songs/score) like those behind Missing Pieces is the most fulfilling part of writing about movies. Its unknown actors and crew deserve to do this for a living. And we deserve to see their novel and ambitious ideas realised.

Missing Pieces is still seeking distribution. It is high quality stuff and there’s no reason why it should be kept from a wider audience. Get the word out and find the missing piece in your collection of favourite films: www.FindYourMissingPieces.com

DVD Review: The Halfway House (1944) from Ealing Studios


If you are yet to enter the competition at Flickering Myth to win a copy of Ealing Studios production The Halfway House on Digital Versatile Disc, I do suggest that you hurry up and get a move on. This is a film worth seeing for three very good reasons. Pay attention ladies and gentlemen and I shall outline them for you.

Firstly The Halfway House is a fragment of history, a slice of our country’s past, and an especially engaging and vivid one too. For those of you enjoying the developments in three dimensional cinematic viewing or perhaps partial to the high definition of your colour television sets, it might be rather off putting that this is a film presented in mere black and white. I readily admit that I am not an avid viewer of black and white pictures myself.

I can assure you though that the lack of variation in colour is more than made up for by numerous other qualities. In fact, I’d go as far as saying that it added to the charm of the film. In any case, this is top notch black and white, because The Halfway House has been digitally restored to a wonderful standard, so that it is, to all intents and purposes, as good as a modern day release.

This film was originally released in 1944 and judging by references to the date during the plot, filmed in 1943. It is therefore significantly influenced by the context of the ongoing Second World War in Europe. A number of the characters have lost friends, colleagues and relatives during the conflict. Others are affected in other ways.

The Halfway House is somewhat inaccurately and crudely labelled as a horror but in reality it is an interesting infusion of ghost story, fable and propaganda. The propaganda element is particularly fascinating and marks the film out as a genuine historical artefact. It is not overdone to affect the level of satisfaction for a modern audience, but certainly during the conclusion an Irishman’s change of allegiance from neutrality to supporting the Allies is noticeably underlined.

The second principal reason you should see The Halfway House is the impressive and rounded characterisation, forming part of a touching and timeless narrative. Whilst the historical background to the plot is crucial to setting it apart from modern releases, the quality and nature of the storytelling is also no longer replicated by studios today.

The first half of the film introduces a wide range of characters across Britain (showcasing unusual scope and variety of outdoor locations for Ealing Studios), each with their own problems, from terminal illness to divorce and criminality. The second half then brings all of these characters together at The Halfway House, a Welsh inn that may or may not have been destroyed by fire. The kindly and wise owners of the inn, who speak almost poetically at points, help the guests to help each other. Gradually they all gain perspective on their issues and worries by taking time out from the everyday grind. Such an intricately woven moral is still just as relevant today.

The Halfway House is superbly acted, even by modern day standards. It has a marvellous script that seems to transfer something from the original play by Denis Ogden. Primarily that something is dialogue which allows characters to breathe and grow convincingly, as they would on stage. Somehow The Halfway House is full of excellently fleshed out characters, despite the ensemble cast.

The third key reason for seeing The Halfway House is that it is tremendously amusing. Part of that humour arises inadvertently from the old fashioned and outdated formal register of the dialogue, which I have tried unsuccessfully to mirror regularly throughout this review. In certain situations the tone and accent of 1940s British speech, along with that persistent formality, is unavoidably hilarious.

However most of the comedic moments are intentional, with a mixture of fabulous and average one liners on show, alongside character humour enabled by their believability. One moment in the opening segment, in which we meet a dodgy dealing crook, is amusing due to role reversal; our criminal dismisses an employee for NOT having a criminal record and lying about it. This is also an example of one of many moments where the war has turned things upside down.

As if those three major reasons alone weren’t enough to at least have a go at the competition, there are also too many minor points of interest to mention. Director Basil Dearden has been underrated for years, only to be steadily recognised more and more recently as a groundbreaking filmmaker, with films like Victim starring Dirk Bogarde challenging taboos long before that was easy to get away with and just an arty saying. His direction here is simple for the most part, with the exception of one smartly edited action sequence which could fit into a modern film, but effective and professional. It’s remarkable enough they were making films as entertaining as this with the war raging on.  

Good luck in the competition! But basically make sure you see The Halfway House when it’s released on the 20th of June. It’s an unseen and unappreciated classic of British cinema.