DVD Review: Zombie Undead

This is one of those films with a Ronseal title. There are lots of zombies and zombies are dead, but also sort of lively in a sleepwalking sort of way, hence the “un”. The marketing material continues the no nonsense approach, showcasing a tag line of “RUN.HIDE.DIE!”. Tellingly a footnote informs me that “this disc contains no extra features”. I say tellingly because you really don’t get anything more than a bunch of shirts smothered in red paint and lips sticky with jam.

Sarah has survived a “massive explosion”. She is rather distraught though that the blast has peppered her Dad with all manner of fatal wounds, from bites to paper cuts. Desperately she tries to stop him from bleeding to death in the back of paramedic Steve’s small car, ideal for students or the elderly. Steve tries to calm Sarah as they drive away from the city to an “evacuation centre”. When they get there, Sarah passes out after the doctor plunges a needle full of adrenalin into poor old Dad from a great height.

Sarah comes round to find no one about, apart from a wheelchair parked shoddily and at a skewed angle in the middle of a typical hospital corridor. Perfectly logically she starts to warily shout “hello” at no one in particular. Finally some bloke turns up, tottering towards her, but Sarah can’t quite make him out because of some lingering concussion and a random cut that’s appeared on her forehead halfway through the scene. Her vision clears up just as he’s right in front of her. Unfortunately for Sarah this fella is in a right state; he hasn’t moisturized for weeks and he’s horny as hell.

Thankfully the first of a few fat men in Zombie Undead picks precisely this moment to turn up with a randomly acquired blade (other conveniently placed objects will star later such as torches and a bottle of pills). He swiftly slices the sex pest’s skull like a melon. Then Sarah’s female failings kick in. Instead of showering her rescuer with gratitude she wails and whines, inching herself away from our chubby chopper. It takes him ages to explain that there are a load of “things” like the sex pest, with awful skin and serious body odour issues, staggering about the corridors leaking goo and munching flesh. Sarah slowly accepts the situation, a bit, and vows to help Jay (for that is our hero’s name) find his little brother if he helps her find her Dad.

Sadly for Jay Sarah never quite embraces the survival instinct, always trying to save the zombies and people they encounter when they are beyond redemption. What are women like hey? Jay also isn’t helped by fellow porker Steve, who was the paramedic with the little car from earlier. Weirdly he is the slowest to come to terms with the blood billowing monsters. They find him cowering in a toilet cubicle, in an awfully amateurish immensely suspenseful scene with Jay crashing open the doors one by one, and despite his medical training he’s prone to chucking his guts up at the sight of other’s guts.

There are an awful lot of innards on show. If our fat protagonists could man up a little and acquire a taste for it there are feasts to be had, indeed zombies are regularly shown gobbling up intestines with grunting delight. One scene in yet another toilet (either funds were tight or the director loved the aesthetics of Condom machines and urinals) has what looks like a shrine to Lidl’s chipolatas, drizzled in organically sourced tomato ketchup and served on a bed of recently devoured homo sapien.

Even the gore lacks any variation or quality, despite unhealthy splutterings of it. The direction and editing is clunky, predictable and poor, but its imitation of handheld horror is competent compared to the script. The dialogue essentially has two levels, sounding either like cliché regurgitations of previous films or as if the shockingly bad and evidently inexperienced actors are improvising in a beginner’s drama class. As for the plotting a half hearted attempt is made to make things modern, with vague and contradictory allusions to a biological terrorist attack. It was obviously decided that to leave everything unexplained would be classier, thus depriving the audience of any satisfaction whatsoever from Zombie Undead’s 86 minutes.

Some answers surface from the pools of irritating disappointment as soon as the credits roll however. Why the unusual and implausible fat hero, with the weird undertaker/security guard costume? The film’s writer, Kris Tearse, was also its male star. The primary location was Leicester’s De Montfort University, which explains the extremely low budget feel. So a bunch of students are living the dream with this film it seems, no matter what its failings, some will be ecstatically excited when the DVD is released on the 30^thof May. It has nothing new or engaging at all to recommend it. But to help justify the dream I will admit I flinched like a child at one point, and was genuinely surprised, although after the zombies had gone.

Outcast

When you’re an established director in British television it must be important to time your leap into films. It could be a matter of waiting for the right opportunity to come along. You might have a brainchild of your own to nurture into life. However you go about it, mistakes could be fatal for your aspirations. Do you stick to what you know or strike out boldly to get yourself noticed?

Colm McCarthy adopted the practical approach of a bit of both. Born in Edinburgh, his debut feature is set in the city and packed full of bleak, grey vistas. They’re similar to the gritty tone of one of McCarthy’s previous credits, Murphy’s Law. And McCarthy relies on the star of that show, James Nesbitt, to head up a strong line-up of British acting talent in Outcast. The director also co-wrote the film, which is a shocking and dramatic departure from glossy programmes like Hustle, The Tudors and Spooks which also adorn his CV.

Outcast is the tale of Mary (Kate Dickie) and Fergal (Niall Bruton), a mother and son pair that find themselves settling into a dingy, dirty flat on a rough estate on Edinburgh’s outskirts. As the film progresses it’s clear that Mary is fiercely protective of her son and that she and him are running and hiding from something dark in their past. Connections which link them to Cathal (Nesbitt) gradually surface, who arrives in the city on a primal hunt to kill. It doesn’t take long before members of the recognisable British cast start dropping like flies, but the culprit remains ambiguous right up until the climax of the story.

From the start Outcast tries too hard to establish its weird, horrific credentials. Rather than subtly revealing the occult aspects to the story, the clunky script hammers them home. We watch as Nesbitt’s character endures the application of painful ritualistic carvings to his back and immediately afterwards, Dickie’s mysterious mother drawing blood from her own naked chest and daubing ancient symbols over the walls. Later when Fergal’s teen love interest Petronella (Hanna Stanbridge) barges into the flat and discovers these odd images, Fergal simply explains his mother has different beliefs, rather than panicking or struggling more realistically (and interestingly) to keep the secret burden from his friends. Equally bizarrely Petronella isn’t fazed.

With so much blood and gore on show, Outcast needs strong, engaging and believable characters to be watchable. Unfortunately a weak script again lets down the cast. Most of the characters are nothing more than stereotyped caricatures. The highly sexed yobs on the estate are entirely predictable, as is Doctor Who’s Karen Gillan’s small role as an estate slut. Petronella’s simple brother is also a cardboard cut-out of a character. Her relationship and eventual love for Fergal, a key pillar of the plot, is not at all convincing. Another faulty key ingredient is Nesbitt’s miscasting as the menacing pursuer. Most of the time he appears baffled and far from frightening. Christine Tremarco gives a good performance as a rather pointless housing inspector and Dickie’s genuinely mysterious mother is just about the only character with the capacity to deliver proper scares. She does so a number of times, springing out from nowhere on her wandering son, issuing warnings and cursing Tremarco’s character so that she loses her mind.

For a horror film Outcast is far too predictable and its execution is heavy handed. All the pieces of a really gripping, frightening story are there but they simply don’t fit together in the right order. The crucially important occult influences are both overused and not ever satisfactorily explained. Grand themes like repressed sexual desire, forbidden fruit and ancestor’s sins returning to haunt the next generation, never quite come off. Brutal sacrifices and attacks, potentially original elements of the story, are uncomfortable to watch but never truly shocking. When more traditional scares arrive in monster form, the special effects look amateurish and almost laughably like a parody of a classic.

Most of the praise heaped upon McCarthy’s debut feature seems severely misguided in my view, although one review is right to hail the project an “ambitious” one. Sadly for the British film industry, Outcast lacked both the polished script and the resources to pull off what it was attempting. Throughout the whole thing you’re never quite sure what’s going on, but you’re never shocked or scared either. Outcast’s two dimensional plotting and characterisation means that a handful of sexy scenes, the charms of rising star Hanna Stanbridge and continuous gore are all that’s left to endear it to the (I suspect male) teenagers keen to get hold of it on its release, despite the 18 certificate.

In Brief Praise of Bryson and Brooker

I’ve been meaning to sing the praises of two particular writers for some time. However perhaps I have found their work so enjoyable and admirable that I’ve been deterred from writing and attempting to sum up their brilliance, as it’s certain I’ll fall flat on my face in a puddle of failure. Perhaps broadcasting my enjoyment will in some way diminish it. Perhaps I’m embarrassed of elevating these men to the status of idols and role models when I neither write funnily enough to be considered in the same humorous bracket as them, or seriously enough to be amused by their ramblings from afar, occasionally distracted from the rigours of my precise, academic dissections of culture and politics by their simple gags.

I don’t think the craft of these two men is simple or easy though, although embracing the merits of simplicity can often be an important part of their success. It’s a far from facile task to be simultaneously intelligent and laugh out loud funny. Of course one can write cleverly and with wit, but that sort of writing rarely plucks an audible chortle from the depths of the reader’s throat. These two writers share three qualities that I admire and often strive for in my own work: 1) they’re hilarious, 2) they have a knack of describing things in a spot-on, accurate, unique and truthful way and 3) an undertone of self-depreciation flows through their work that makes what they say accessible and allows a degree of more outrageous opinion and conviction.

These men then are travel writer Bill Bryson and critic Charlie Brooker. I’ve recently read Bryson’s Notes From a Small Island and Brooker’s Dawn of the Dumb, a selection of his Screen Burn and opinion pieces from The Guardian. Obviously in subject matter alone these writers are poles apart, but I’ve already pointed out some of their crucial similarities to me. They also have appealing differences. In Bryson’s book he showcases a subtle humour through the description of characters as well as more rib cage rattling stuff. He also brilliantly evokes a sense of place and has encouraged me to consider strongly exploring a number of locations anew and afresh in our glorious land, such as distant Edinburgh and the closer South Coast. In Brooker’s book he consistently demonstrates a commanding handling of contemporary culture and an ability to scathingly insult and pick apart any target he sets his sights on. He also has a wonderful understanding and sense of pessimism about the media age we live in and has mastered the art of the interesting review. His reviews often relate to his own life or a version of it and do not feel like reviews until some way into the article. They surprise and baffle, whilst always capturing something essential about the essence of the show, programme or film.

Indeed both men refreshingly offer up a lot of themselves into their work which gives it an engaging, “real” quality. They basically have a recognisable and distinctive style and voice which most writers, myself included, struggle to emulate, especially as they remain versatile and able to cover a spectrum of subjects at the same time. Often the qualities I have described so far blend in particular phrases and images. For example early on in Bryson’s book he demonstrates his knack for perfect description, “The world was bathed in that milky pre-dawn light that seems to come from nowhere” and later in the same paragraph does the same thing whilst being humorous and self-depreciating at the same time with this gem of a line: “I sat there for some time, a young man with more on his mind than it”.

That sense of experience pervades Bryson’s writing and he talks hilariously of times when he was still acquiring his nous, and of times when despite his age events still get the better of him. As an outsider Bryson also has a wonderful way of describing the faults and habits of the British, such as a hilarious passage in which he accurately describes the way we discuss traffic and routes on the road with terrible serious and deliberation. He also appears to have picked up a sense of British reserve, for when he insults someone he often qualifies the statement or does so gently but hilariously. Occasionally his musings and rants on architecture become tiresome, but he instantly acknowledges this fact and it is worth it for the injection of identity into the writing.

If Bryson harnesses experience then Brooker channels a youthful fury into his writing and displays consistently the art of the preposterous, rude and yet eerily accurate insult. There are too many to list but a particularly memorable image deployed during a rant against posing Mac owners, Brooker dubs the Apple computers as “glorified Fisher-Price activity centres for adults”.  I always enjoy his articles, in the book and continually on The Guardian website.

In summary if I end up writing in a similar way or doing a similar job to these men later in life I shall be one happy bunny.

The Other Boleyn Girl

Basically: bouncing boobs, breached bodices, bonking, beauty, blondes, brunettes, betrayal, backstabbing, blood bonds, bastard babies, beheading, Bana, Boleyn. Bogstandard historical “fact”/fiction that skips superficially over and through major historical events rapidly, particuarly towards the end, in favour of a focus on lust and madness. The supporting cast appear predominantly British, such as the colourfully named Sherlock Benedict Cumberbatch, but Hollywood starlets from overseas are favoured for the key roles, with an Australian playing the English King and prim performances from Natalie Portman and Scarlett Johanasson as the sisters. In many ways a two-dimensional affront to historical storytelling, this film is however ultimately watchable due to most of it resembling a Tudor version of those sexy M and S ads, such is the brilliant beauty of the period detail and exquisite human forms of the cast.  This isn’t just a Royal sex scandal, it’s Scarlett Johansson moaning with ecstascy as Bana’s buff Henry the Eighth towers over her, expressing his divine power as monarch in glorious slow-mo. This isn’t just sisterly rivalry, but a catfight between Portman’s manipulative, manicured and manufactured British tones and Johansson’s saintly gasps of disbelief, with the prizes of religion, state, power and wealth at stake. Meet the original, surprisingly well-to-do, respectful and ambitious footballer’s wives.

The Social Network

It’s 3am or a similarly ridiculous hour. The sane and the content are asleep in the warm darkness of their beds. I however ignore the tension in my forehead, the heavy strains choking my eyeballs. I sit eagerly forward, glowing in the light of my laptop, waiting. Waiting for that friend request to be confirmed, waiting for someone to comment on my attention seeking status, waiting for the boyfriend of the girl I love to slap another obscene, boastful, sexual comment triumphantly on her wall. I trawl mindlessly through the indecipherable, identical and idiotic ramblings of countless school colleagues; people I might have spoken to once or twice, but are now destined to provide endless commentary of their life’s ups and downs direct to my inbox. This is the grim everyday reality of Facebook, The Social Network.

It’s a reality that rarely rears its ugly head throughout David Fincher’s latest project, only truly doing so at the end of the film with Facebook founder Mark Zuckerberg, masterfully played by Jesse Eisenberg, reduced to hitting refresh on a friend request, hellishly bound to his own creation. However whilst this is a glamorised tale of unnaturally razor tongued geeky geniuses that can feel artificial at times, The Social Network does not lose sight of the fact that all the boardroom drama and billions of dollars stems from the clever exploitation of darker, depressing human traits lurking beneath the surface of brilliance.

Thanks to Aaron Sorkin’s script of lightning paced, sharp and witty dialogue though, brilliance is a prominent feature of the movie. It’s ironic given the reams of pointless, idiotic dribble vomited onto Facebook each day that every other line in The Social Network is a cool summary of the times or a cutting riposte. Ironic too that the film reveals the drunken origins of Facebook as “facemash”, a crude tool for comparing the attractiveness of Harvard undergraduates, conceived as the ultimate retaliation to be being (deservedly) dumped. The brutal simplicity of this drunken prank would foreshadow the darker changes a fully evolved Facebook would impose upon our lives.

For all the grand ideas and themes raised in Sorkin’s excellent script there is also brilliance in the characterisation and storytelling; fundamentals for an enjoyable cinema experience. There are countless superb one-liners and the film opens with a quick, emotionally charged and frustrating verbal duel, culminating in Zuckerberg being labelled an arsehole. The film ties together nicely with a neat structure when he is acquitted of being an arsehole (kind of) at the end. There are bags of humour and tension to be had in the court scenes, which flashback to the Harvard days of creating “thefacebook”, which are beautifully shot and capture the frenzy as the idea spirals beyond the imaginings of its authors.

Whilst critics may agree that Sorkin’s script is the most brilliant feature of The Social Network, there are numerous other marks of quality ensuring it is being talked about as one of the films of the year. David Fincher’s direction has been singled out for producing a visually stunning production. He is also responsible for getting the best out of Sorkin’s script by having it read faster than intended at times, perfectly matching the machine-like detachment of the computer nerds’ personalities. These nerds are also brilliantly portrayed by some outstanding acting. Eisenberg seems perfectly cast as the strangely likeable, slimy architect of the whole thing, Mark Zuckerberg and Justin Timberlake has been widely praised for an assured performance as Napster founder Sean Parker. For me young British actor Andrew Garfield, star of Channel 4’s Red Riding and recently cast as the new Spiderman, was most impressive as co-founder but intellectually and morally out of his depth business student Eduardo Saverin. Garfield’s character is the audience’s way into a world of untouchable smart arses and elites and his performance is pitch perfect from the giddy highs to the panicky, incomprehensible lows. Armie Hammer provides the humour as the Winklevoss twins (his face was digitally reproduced onto that of another actor) and the film is also mesmerizingly scored at times, from the intoxicating party scenes, to moments of corporate despair and sporting drama.

All in all The Social Network is a film that for once largely lives up the cleverly marketed hype drummed up around it. It may not be entirely factually accurate but it is all the more entertaining and meaningful for telling a dramatic story with engaging characters, as opposed to slipping into documentary mode at times as Fincher’s previous work Zodiac was prone to do.

Harry Brown

It’s difficult to precisely pinpoint the moment I fully embraced the mantra “don’t get sad, get mad”. It may have been after my first THRRIP (Totally Humiliating Romantic Rejection In Public), or my second, third or fourth, or it may have been at the doctors after being diagnosed with yet another niggling ailment, or that time on holiday. Yeah that time. Anyway it’s an incredibly liberating and practically useful little philosophical phrase that never fails to help when intoned in worrying hushed tones to oneself at times of crisis. Normally it’s best to redirect your waves of gloom into stinging volleys of verbal venom at something or someone else. However if you can’t quite manage this straight away there is the intermediate stage of self-loathing as opposed to self-pity. It’s surprising how much better it feels to mentally pound yourself, the equivalent of smashing your knee caps to bits with a hammer, than to sit and curse your bad luck and the unfairness of the world and stay true to some ideal that ultimately makes you a worthless martyr. That’s a bit like watching Comic Relief in black and white without the Comic bits and you feel so guilty you want to ring up, only you can’t because you’re tied to a metal chair in a freezing igloo with only cockroaches and old copies of Bella with outdated fictions about the Loose Women for company. I mean you can find the fun in bashing anything with a hammer.

Obviously though it’s better not to destroy yourself, no matter how fun it is, but that’s the beauty of the mantra “don’t get sad, get mad”. Anger is far more productive than depressing sadness and can usually be channelled like a satisfying stream of hot piss as opposed to the dreary, relentless drip of sadness. If you let it that drip will erode your soul, whereas that stream of piss will just make it a stink for a while, and people will think you’re a prick, but you’ll feel better. Anger gets things done. They may not be worthwhile things but it will get you out of bed in the morning. Countless critics for example seem to make a living out of analysing and ripping to shreds pointless content, such as ITV’s new morning show Daybreak. I mean really who cares about its quality, who actually expected it to tackle the news seriously and intelligently as the producers claimed before the revamp? But what would be the point in collapsing into weepy hysterics about the futility of life, symbolised by Adrian Chiles’ empty autocue reading posture, or Sharon Osborne’s incompetence standing in for Loraine Kelly? Much better to write scathing, fury fuelled critiques that might just brighten the day of all those who tolerate such comfort TV, whilst secretly seething at its failings.

I have to say though that I have realised I was exaggerating to say I “fully embraced” the mantra “don’t get sad, get mad”. The little method outlined above to deal with life’s ups and downs really just dips its toes in the rivers of possibility. Michael Caine’s character Harry Brown, in director Daniel Barber’s 2009 debut of the same name, fully adopts the philosophy and dives deep into those waters out of grim necessity. Harry has more reason than most to be sad, and therefore extremely mad. He lives in London’s hellish underbelly and watches, his face illuminated in the gentle amber glow of the street lights, as his neighbourhood is terrorised and ruled by mindless thugs. And what really irks Harry is that they are totally mindless. Harry was in the Marines in Northern Ireland and saw ghastly things in that warzone, but that violence was always motivated by deeply held beliefs. In this modern hell he watches as his life is torn apart by bored teenagers, snatching filthy pleasures and dangerous highs where they can get them.  

Caine was full of praise for Barber’s directorial skill on his debut after this film’s release and that praise is mostly justified. That is not to say his first film was perfect but it is a solidly gripping and at times moving tale. The film opens strikingly with a random shooting, seen from the frenzied perspective of drugged up youths on a fast moving, noisy bike. The incident comes to a crashing halt and despite the horror of it all the audience can feel the thrill and therefore the twisted motivation behind the criminals’ actions. Barber then swiftly contrasts this dizzying, dangerous high with the monotonous, lonely day to day existence of Harry Brown in his drab flat on a graffiti splattered estate, with only chess games at the pub and visits to his dying wife to fill the dragging bags of time. When Harry’s only real mate, his chess buddy, is murdered standing up to the thugs and the police investigation quickly stumbles in an excellent, frustrating interrogation scene, Harry resolves to begin unpicking the threads of his local underworld. Actually just to back up my earlier theory Harry tries drink first, feels sorry for himself and then is forced to act by a knife wielding hoodie. Sad first, then get mad.

Now if the idea of a pensioner getting things done, pulling out the roots of crime through strength of will alone, seems a little implausible to you, then you’re not alone. Even though it was Michael Caine, once so imposing in Get Carter, so assured in The Italian Job, I was sceptical. But Caine’s performance, vulnerable puppy dog eyes and all, ultimately draws you in. Indeed this is a very well acted production. David Bradley puts in a solid turn as always as Caine’s murdered friend but most impressive for me were the police officers involved in the investigation. Emily Mortimer’s well meaning Detective and streetwise Charlie Creed-Miles as her Sergeant make an intriguing double-act, whilst Iain Glen as the superior officer in charge is totally convincing in his brief scenes trundling out the official line with cold hearted efficiency. If the film has a weak point it is perhaps the crude characterisation of the yobs, whose performances are somewhat predictable. But then again the slightly heightened and simplified version of grim estate life may simply be making the point that scum exists and even the police recognise the best they can do is to be seen to be doing something about and to contain it within areas beyond help. The actions scenes, whilst not perfect, are hard hitting and gripping. The film builds to a climax in which the estate becomes a battleground, with shield wielding riot police standing helplessly against the hordes of savage youths. Again this feels simplified but the film concludes well with a satisfying twist. Barber definitely deserves more opportunities in the director’s chair, if only for the vivid vision of a grimy, sodden and hidden London that is present throughout.