Director Danny Boyle and writer Alex Garland deliver an intense shocker that never fails to scare.
Jim (Cillian Murphy) wakes up from a coma after being involved in a car accident. He is in a hospital in London, but everyone is gone. Not just everyone in the hospital, but everyone in London. He goes to a church, slowly piecing together what happened. Some do-gooder animal activists accidentally released chimpanzees infected with a virus that can be passed through blood and saliva. The virus turns its victims into raging zombie-like creatures in a matter of seconds. Jim discovers some of these people at the church, and is saved by Selena (a wonderful Naomie Harris) and Mark (Noah Huntley). This is not a typical virus where symptoms must be observed if the victim is not killed immediately. The virus will make the victim kill anyone around them, no matter who it is. Selena and Jim meet Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns), and the four pick up a recorded radio message promising safety in northern England at a military base. The base is commanded by Major West (Christopher Eccleston), and the survivors soon find out infected zombies may be the least of their worries.
For a horror film, "28 Days Later" is extremely smart. The characters are all believable, especially when you put them in the context of "what would you do?" Jim tries to see the humanity in everyone, Selena is a hardened survivor who begins to soften, and Frank puts his best face on for his daughter who relies completely on him. Despite what you may think, however, this is not a character study. I have not been this scared while watching a movie in a long time. As you may know now, the zombies do not shuffle, they RUN after their prey. I had only seen this once before, in the 1970's flick "Dead People" (aka "Messiah of Evil"), and it is very effective and more than creepy. The footage at the military base and the country house they have acquired is just as scary, but because of men losing their human abilities and giving into their basic desires. Eccleston was an actor to watch, scoring a great performance in "Jude," and doing the same here. The opening scene in London took me back to when I visited the city in the early 1990's. I literally stood in many locations where Jim is seen walking, making the film even more chilling. This was shot with video, and it totally works. The makeup and gore effects are top notch, but director Boyle does not overdo the shaky camera routine. Glimpses of the carnage are more than enough. The acting is excellent across the board, and the script keeps things moving along, I was never bored.
"28 Days Later" is scary. Put it into any context you want, but it delivers on the basic promise of frightening you. Followed by sequels.
Stats:
(2002) 113 min. (10/10)
-Directed by Danny Boyle
-Written by Alex Garland
-Cast: Cillian Murphy, Naomie Harris, Brendan Gleeson, Christopher Eccleston, Noah Huntley, Megan Burns, Toby Sedgwick, Luke Mably, Stuart McQuarrie, Ricci Harnett, Leo Bill, Marvin Campbell
(R)
Wednesday, December 18, 2024
Saturday, December 14, 2024
41 (2007)
*Get "41" on Amazon here*
*Get "Raising Matty Christian" on Amazon here*
*Get "Revealed: Portraits from Beneath One's Surface" on Amazon here*
*Get "Slatersville: America's First Mill Village" on Amazon here*
Christian de Rezendes and co-director Christian O'Neill deliver a wrenching documentary about a young man whose life was cut short, but who may still be around to let his loved ones know that he is okay.
Nick O'Neill was the 18 year old lead singer of a local Rhode Island band named Shryne. The band opened for Great White at the Station Nightclub in Rhode Island but on February 20, 2003, pyrotechnics set the building on fire, killing one hundred people. Nick was the youngest victim, the concert was open to ages 18 and up. It turns out that Nick's older brother Christian ran a video camera constantly as his sibling was growing up. Nick was outgoing and photogenic, getting parts in local children's theater productions. As a teen, he got a guitar and started writing songs while dealing with some very sad events- one of which was the death of his mother's former husband (he was born in 1941) from cancer when Nick was 15. The number "41" always seemed to be a constant in Nick's life. The film makers find ample footage and photos of the number on things like addresses, important dates, and even telephone poles, making one believe that it couldn't be a coincidence. The number was Nick's lucky number (especially if found with his N.O. initials), and his family believes Nick communicates with them now using the number- except for Nick's older brother, who has a point that if you obsess about looking for that specific number, you'll probably find it. Nick seemed to be going places. His band was having local success, and the teenager even penned a provocative play about religious intolerance that was rediscovered after his death. The pain of Nick's death still weighs on the family when this was shot in 2006, with many subjects breaking down on camera.
Watching the footage of Nick, I was struck by how normal he seemed. He went to church, had a cute girlfriend, did lousy in school and eventually dropped out, but kept up a prolific pace with his songwriting, filling many notebooks.
De Rezendes follows Nick's brief life, as well as the aftermath of the fire, and the various memorials and a staging and then the filming of his only original dramatic work. In order to cope, Nick's mother and stepfather frequent mediums, something I don't think I could do, for communication with Nick and some of their information is uncannily correct. The most chilling footage is the now famous video of the fire starting just as Great White was taking the small stage at the nightclub. Through slow motion, we can see Nick in his final few minutes of life. I know tragedy and loss occur everyday, but the film's focus on this one victim had me overwhelmed with emotion. I'm sure any documentary that focused on any of the other victims would be equally emotional, and I hope this film encourages others to deal with their loss instead of keeping the anger and grief bottled up inside. I haven't been this touched by a documentary since "Dear Zachary."
"41" made me mourn a guy I never met, and mourn the words and work we never will get from him. The tone, editing, music, and direction are perfect. This film simply must find a larger audience- Christian de Rezendes can be proud of this film, and Christian O'Neill can be proud of Nick.
Stats:
(2007) 112 min. (10/10)
-Directed by Christian de Rezendes and Christian O'Neill
-Featuring Nick O'Neill, Christian O'Neill, Joanne O'Neill, Dave Kane, Great White
(Not Rated)
*Get "Raising Matty Christian" on Amazon here*
*Get "Revealed: Portraits from Beneath One's Surface" on Amazon here*
*Get "Slatersville: America's First Mill Village" on Amazon here*
Christian de Rezendes and co-director Christian O'Neill deliver a wrenching documentary about a young man whose life was cut short, but who may still be around to let his loved ones know that he is okay.
Nick O'Neill was the 18 year old lead singer of a local Rhode Island band named Shryne. The band opened for Great White at the Station Nightclub in Rhode Island but on February 20, 2003, pyrotechnics set the building on fire, killing one hundred people. Nick was the youngest victim, the concert was open to ages 18 and up. It turns out that Nick's older brother Christian ran a video camera constantly as his sibling was growing up. Nick was outgoing and photogenic, getting parts in local children's theater productions. As a teen, he got a guitar and started writing songs while dealing with some very sad events- one of which was the death of his mother's former husband (he was born in 1941) from cancer when Nick was 15. The number "41" always seemed to be a constant in Nick's life. The film makers find ample footage and photos of the number on things like addresses, important dates, and even telephone poles, making one believe that it couldn't be a coincidence. The number was Nick's lucky number (especially if found with his N.O. initials), and his family believes Nick communicates with them now using the number- except for Nick's older brother, who has a point that if you obsess about looking for that specific number, you'll probably find it. Nick seemed to be going places. His band was having local success, and the teenager even penned a provocative play about religious intolerance that was rediscovered after his death. The pain of Nick's death still weighs on the family when this was shot in 2006, with many subjects breaking down on camera.
Watching the footage of Nick, I was struck by how normal he seemed. He went to church, had a cute girlfriend, did lousy in school and eventually dropped out, but kept up a prolific pace with his songwriting, filling many notebooks.
De Rezendes follows Nick's brief life, as well as the aftermath of the fire, and the various memorials and a staging and then the filming of his only original dramatic work. In order to cope, Nick's mother and stepfather frequent mediums, something I don't think I could do, for communication with Nick and some of their information is uncannily correct. The most chilling footage is the now famous video of the fire starting just as Great White was taking the small stage at the nightclub. Through slow motion, we can see Nick in his final few minutes of life. I know tragedy and loss occur everyday, but the film's focus on this one victim had me overwhelmed with emotion. I'm sure any documentary that focused on any of the other victims would be equally emotional, and I hope this film encourages others to deal with their loss instead of keeping the anger and grief bottled up inside. I haven't been this touched by a documentary since "Dear Zachary."
"41" made me mourn a guy I never met, and mourn the words and work we never will get from him. The tone, editing, music, and direction are perfect. This film simply must find a larger audience- Christian de Rezendes can be proud of this film, and Christian O'Neill can be proud of Nick.
Stats:
(2007) 112 min. (10/10)
-Directed by Christian de Rezendes and Christian O'Neill
-Featuring Nick O'Neill, Christian O'Neill, Joanne O'Neill, Dave Kane, Great White
(Not Rated)
Saturday, December 7, 2024
Blood Tide (1982)
This not-bad horror film was shot on a Greek islands, and features an Oscar-familiar cast.
Neil (Martin Kove) and Sherry (Mary Louise Weller) are newly married. They spend their honeymoon searching for Neil's sister Madeline (Deborah Shelton), who disappeared somewhere in the Greek islands- how romantic! Although they find her, Madeline is not her old self, spacing out and staring at the sea. The group is trapped on the island by evil mayor/sheriff Nereus (Jose Ferrer). Neil and Sherry also find Frye (James Earl Jones), a blustery guy diving on a site filled with ancient coins and a mysterious walled-up cave entrance, and Jones' girlfriend, Barbara (Lydia Cornell, relegated to yet another dumb blonde role). Frye inadvertently releases a mythical creature that the islanders used to sacrifice virgins to, endangering everyone. Lila Kedrova is wasted as Sister Anna, the local nun who does nothing more than cross herself and warn of impending doom. Madeline's reasons for being on the island are fuzzy. She is restoring an art print at the monastery, which reveals the monster/virgin legend, and she apparently brought Frye to the island, but how and why she is there is never cleared up; likewise with Barbara's presence.
For such an isolated island, they sure get a lot of American tourists. There is also an incestuous subplot between Kove and Shelton that is hinted at but thankfully never expanded on. Two B horror movie legends behind the camera, Brian Trenchard-Smith and Nico Mastorakis, are listed in the opening credits in various occupations, and they may have had something to do with many of the film's good moments. There are some suspenseful scenes, and the monster is pretty ugly and a little scary. The gore mostly takes place underwater, possibly a result of the film's low budget.
All in all, I liked "Blood Tide." Where else will you hear Deborah Shelton warble the end credits song that she wrote the lyrics to, or see the stoic James Earl Jones playing a lout in a scuba wet suit? I kinda recommend this one, although it is far from perfect. Also known "Bloodtide."
Stats:
(1982) 82 min. (6/10)
-Directed by Richard Jefferies
-Screenplay by Richard Jefferies & Nico Mastorakis
-Cast: James Earl Jones, Martin Kove, Mary Louise Weller, Deborah Shelton, Jose Ferrer, Lydia Cornell, Lila Kedrova, Sophia Seirli, Despina Tomazani, Rania Photiou, Spyros Papafrantzis, Annabel Schofield, Irini Tripkou
(R)- Physical violence, gore, some profanity, some sexual content, adult situations
Neil (Martin Kove) and Sherry (Mary Louise Weller) are newly married. They spend their honeymoon searching for Neil's sister Madeline (Deborah Shelton), who disappeared somewhere in the Greek islands- how romantic! Although they find her, Madeline is not her old self, spacing out and staring at the sea. The group is trapped on the island by evil mayor/sheriff Nereus (Jose Ferrer). Neil and Sherry also find Frye (James Earl Jones), a blustery guy diving on a site filled with ancient coins and a mysterious walled-up cave entrance, and Jones' girlfriend, Barbara (Lydia Cornell, relegated to yet another dumb blonde role). Frye inadvertently releases a mythical creature that the islanders used to sacrifice virgins to, endangering everyone. Lila Kedrova is wasted as Sister Anna, the local nun who does nothing more than cross herself and warn of impending doom. Madeline's reasons for being on the island are fuzzy. She is restoring an art print at the monastery, which reveals the monster/virgin legend, and she apparently brought Frye to the island, but how and why she is there is never cleared up; likewise with Barbara's presence.
For such an isolated island, they sure get a lot of American tourists. There is also an incestuous subplot between Kove and Shelton that is hinted at but thankfully never expanded on. Two B horror movie legends behind the camera, Brian Trenchard-Smith and Nico Mastorakis, are listed in the opening credits in various occupations, and they may have had something to do with many of the film's good moments. There are some suspenseful scenes, and the monster is pretty ugly and a little scary. The gore mostly takes place underwater, possibly a result of the film's low budget.
All in all, I liked "Blood Tide." Where else will you hear Deborah Shelton warble the end credits song that she wrote the lyrics to, or see the stoic James Earl Jones playing a lout in a scuba wet suit? I kinda recommend this one, although it is far from perfect. Also known "Bloodtide."
Stats:
(1982) 82 min. (6/10)
-Directed by Richard Jefferies
-Screenplay by Richard Jefferies & Nico Mastorakis
-Cast: James Earl Jones, Martin Kove, Mary Louise Weller, Deborah Shelton, Jose Ferrer, Lydia Cornell, Lila Kedrova, Sophia Seirli, Despina Tomazani, Rania Photiou, Spyros Papafrantzis, Annabel Schofield, Irini Tripkou
(R)- Physical violence, gore, some profanity, some sexual content, adult situations
Friday, December 6, 2024
Bloody Current Exchange (2007)
*Get "Horsehead" on Amazon here*
On the surface, this brief film shows us a tryst between a prostitute and her client, until the not-so-surprising ending, when the title seems to make more sense.
Vincent (well-known French actor Philippe Nahon) talks to an unseen person on the phone, ordering a prostitute; his seventh acquisition as of late. The beautiful Fanny (Emma Pick) arrives and the couple uncork some champagne, although Fanny refuses to drink since she has other clients to attend to. Vincent makes an off-the-cuff remark when they meet, saying he likes to remember the women he sleeps with, and the two get down to their business.
While the direction is fine, and the editing by helmer Romain Basset and Mathieu Berthon are top-notch, the film's biggest positive is it's cinematography. The brown color in the beginning of the films, maybe marking Vincent's dull existence, give way to blues and reds when the couple goes to bed. There is nudity here, but it is not very erotic when lit so darkly. The cast is good, I liked their pre-coital interplay- two prostitution veterans who don't have to try to impress each other. The final twist in the story feels a bit jokey, and if you are paying attention during the film's massive eleven minute running time, you might pick up on it. Why else would Basset show you this scene in these two people's lives?
"Bloody Current Exchange" is on a Blu-ray disc with Basset's feature film debut "Horsehead," and I recommend it based on style alone.
Stats:
(2007) 11 min. (8/10)
-Written and Directed by Romain Basset
-Cast: Philippe Nahon, Emma Pick
(Unrated)
On the surface, this brief film shows us a tryst between a prostitute and her client, until the not-so-surprising ending, when the title seems to make more sense.
Vincent (well-known French actor Philippe Nahon) talks to an unseen person on the phone, ordering a prostitute; his seventh acquisition as of late. The beautiful Fanny (Emma Pick) arrives and the couple uncork some champagne, although Fanny refuses to drink since she has other clients to attend to. Vincent makes an off-the-cuff remark when they meet, saying he likes to remember the women he sleeps with, and the two get down to their business.
While the direction is fine, and the editing by helmer Romain Basset and Mathieu Berthon are top-notch, the film's biggest positive is it's cinematography. The brown color in the beginning of the films, maybe marking Vincent's dull existence, give way to blues and reds when the couple goes to bed. There is nudity here, but it is not very erotic when lit so darkly. The cast is good, I liked their pre-coital interplay- two prostitution veterans who don't have to try to impress each other. The final twist in the story feels a bit jokey, and if you are paying attention during the film's massive eleven minute running time, you might pick up on it. Why else would Basset show you this scene in these two people's lives?
"Bloody Current Exchange" is on a Blu-ray disc with Basset's feature film debut "Horsehead," and I recommend it based on style alone.
Stats:
(2007) 11 min. (8/10)
-Written and Directed by Romain Basset
-Cast: Philippe Nahon, Emma Pick
(Unrated)
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