Week of Reel WHorror!: Day 4

Welcome to Day 4 of the

Week of Reel WHorror!

If you've been following my Week of Reel WHorror! closely you know that what follows has nothing to do with the hunky Christian Bale or his role as Patrick Bateman in the glorious American Psycho.


I've decided to kill two birds with one stone on Day 4. Because Day 3 was a barrage of one horror review after another, today will be a barrage of images. I promised months back to post my photos from my vacation to the San Diego Comic Con. I'm making good on that promise today. The various toys, celebrities and costumed attendees should give you more than a few ideas for the perfect, last-minute Halloween costume!


Celebrities: If you know what's good for you, follow the Mistress of the Dark to see all the great celebrities I met during the Con.









Toys: Where do they get those wonderful toys? After all, the Con isn't just about all the cool and crazy folks you meet.








Costumes: If you think this bloody Wolverine looks sweet as hell, you haven't seen nothing yet. Every kind of costume, from movies to TV to games and more, was on display by the attendees.






Celebrities, Part II: Alas, not every wish can come true. These are my near brushes with celebrities. If only I had been a little earlier or a little closer...

LAMB MOTM: Revolver

Revolver


Original Release: 12.07.07
Rated R
1 hour, 55 minutes

Rating: See below



Jake Green (Jason Statham, Transporter) has been released from prison after seven years. He wants to even the score against gangster casino owner Dorothy Macha (Ray Liotta, Slow Burn) for sending him up, but waits. Two years later, a now wealthy Jake embarrasses Macha in a game of chance, learns a fatal disease will kill him in three days and meets Zach (Vincent Pastore, Serving Sara)and Avi (Andre Benjamin, Be Cool). The two men promise to eliminate the threat of death from disease and Macha if he'll give them all his money and do everything they say for three days. Let the games begin.

I'm a fan of writer-director Guy Ritchie's Lock, Stock and Two Smoking Barrels and Snatch. I figured Revolver couldn't be as bad as the murmurings on the web said. Turns out, the film is all murmuring. Statham's greasy mop wig and scruffy handlebar mustache must have hindered his speech because I barely understood a word he said. Ten minutes in, I turned on subtitles to decipher the gravelly tenor of his voice. I couldn't imagine listening to this in theaters. The mumbling wouldn't have been so distracting except Revolver relies heavily on Statham to explain the plot. His words get clearer, but only as the story becomes more muddled.

I'm not knocking Statham, Jake Green is more nuanced than many of his recent characters and he handles the depth admirably. Liotta, prone to hamming it up, is excellent as the high-strung, hot-headed gangster as well.

Twenty or so minutes into Revolver, I got the impression Ritchie was trying to attain a new level in his film making. Liotta standing alone in a grandiose hall, or standing naked in a blue-hued tanning room seemingly begged for respect of its brilliant vision. Experimentation with animation looked cool but seemed more random than purposeful. Ritchie overshoots his lofty aspirations with an abuse of style over substance.

Dirty Undies
The coolest and most outrageous character is Macha's hitman Sorter (Mark Strong, Stardust). He has a knack for killing folks with one shot, no matter how insane that shot may be. Gunblasting battles are the bulk of the film's violent moments. The strongest scene is a pinned down, blood-splattered Liotta watching a nearly dead assassin finish her job. Liotta repeatedly steals the show with either his violence, nudity or foul mouth.

The Money Shot
Revolver is a film that had it's moments. When it ended, I felt there was a greater meaning I may have missed. Then again, watching it again to glean that meaning wasn't worth the effort. Simply put, the subject matter far outreached the abilities of the storyteller. My mildly positive opinion of Revolver continues its downward spiral.

As for its designation in the annals of the LAMB MOTM; Reel Whore gives Revolver LAMB Loathe. Check out who else feels the way I do.

DO YOU KNOW WHO I AM?

DO YOU KNOW WHO I AM!?!

I'm Mutha-Fuckin' Nia Long!!!

I'm 38 years old today!

If you don't get it:

Happy Birthday Nia!

But I digress. We now return to our regularly scheduled posting.

Repeat Bidness: Land of the Dead

* This post is part of the Week of Reel WHorror! *

Original Release: 06.24.05
DVD Release: 10.18.05

Rated R; (DVD: UR)
1 hour, 33 minutes;
(UR: 1 hour, 37 minutes)

Full Price ($$$$) < > Matinee ($$)

"Dead don’t get no respect!"


We've watched zombies evolve from the shambling, grunting corpses of 1968's Night of the Living Dead to those who spew blood a dozen feet and give chase like they’re Usain Bolt a la 28 Days Later. How can the king of the undead genre hope to compete? Simple; writer-director George A. Romero has the zombies who awoke in the night, ravaged in the dawn, and overran in the day now exert their will over the land.

Humans have taken up refuge on an island city where a societal class system is still in effect. The poor masses huddle beneath the Utopian skyscraper of the rich known as Fiddler’s Green. Fiddler’s Green is run by Kaufman (Dennis Hopper, Texas Chainsaw Massacre 2) who uses money and influence to command an army and a team of scavengers. Riley (Simon Baker, Ring Two) leads the lowly scavengers alongside Cholo, played by everyone’s favorite typecast Latino, John Leguizamo (Spawn). The duo, with scavenger crew in tow, lead a foraging run to a neighboring zombie-infested city where the zombies’ have attained the ability to communicate and react. Shortly following, all Hell breaks loose as the zombies unite to swarm the human outpost.

While the evolution of zombies into thinking, rationalizing creatures is contrary to their very nature, you have to admit that it makes for a cool film concept. Big Daddy zombie uses his jerky movements and disgruntled moans to fuse his rotting brethren into a menacing, unstoppable force. Riley and Cholo are the stereotypical heroes, the Cain and Able if you will, of the scavengers. Riley is a hard-working, honest, and caring leader who just wants to retire far away from the dilapidated existence humans know. Cholo is a self-centered hustler looking to buy his way into Kaufman's high society Kaufman.

As with previous Romero flicks, the humans’ superficial aspirations blind them to the more immediate threat of being devoured by shuffling nimrods, so just imagine the panic and carnage when those nimrods start wielding knives, guns, and jackhammers! Post-apocalyptic vehicles, fireworks, and massive explosions fill the voids between the shallow conflicts emerging among the city’s denizens.

The zombie make-up and special effects are friggin’ awesome. My favorite was the perpetual pearly whites of Number 9. Keep a close eye out for zombies that have made appearances in previous Dead films; in particular the infamous Bub from Day of the Dead and the Seersucker Zombie from the original Night of the Living Dead. I’m certain there had to be more cameos, but with so many zombies in Hollywood, it’s hard to remember all their faces.

Dirty Undies
Ahh, the refreshing aftertaste of an R-rated film! Romero dishes up a sensory overload of violence, cursing and racial slurs! The 65-yr-old even flashes us a nice pair of chesticles; after all this is a man who made his bread and butter in the heyday of the 70’s and 80’s. Watching these shambling, festering corpses take up arms, and literally, arms to fight against the infringing humans is intense. The prolonged sequences of gore and destruction as the undead turn humans into wishbones; tearing hunks from throats, snacking on sausagesque intestines and wrestling over scraps of actual finger foods will surely sate even the sickest of appetites.

The Money Shot
Not only does Romero improve upon his zombies, but also his story's undertones. You’ll leave the theater ruminating whether the humans were really the victims. Preponderances aside, Land of the Dead is ideal brain candy for the mindless theater masses.

Repeat Bidness: Red Eye

* This post is part of the Week of Reel WHorror! *

Original Release: 08.19.05
DVD Release: 01.10.06

Rated PG-13
1 hour, 25 minutes

Full Price ($$$$) <
> Matinee ($$$)

"Giving other thrillers the stink eye."

Veteran horror director Wes Craven (Scream) proves that a successful thriller can be accomplished given the PG-13 restriction, though most contemporary horror flicks have proven to the contrary. The premise of this tense tale is that hotel concierge Lisa Reisert (Rachel McAdams, Wedding Crashers), is returning to Miami on the red eye flight after attending her grandmother’s funeral in Texas. While suffering through security and weather delays, she meets fellow passenger Jackson Rippner (Cillian Murphy, 28 Days Later), whom she hesitantly befriends. Once aboard the plane, Lisa finds the odds in her favor as the handsome Jackson is seated by her side. Her luck abruptly ends as the young businessman's disturbing agenda puts several lives, including hers, in immediate jeopardy. At 30,000 feet there’s nowhere to run and escape may be too late by the time the plane lands.

Wes Craven ties this thrilling saga to the wings of air travel in current day America. Besides dealing with the death of her grandmother, a demanding job and a doting father, Lisa has the added stress of shoving elbows with disgruntled passengers. The detailed, hectic life scripted for Lisa is well delivered by McAdams’s performance. Her expressive features and casual presence spark an instant closeness with the audience. Without such an emotional connection, would have become another pointless shock-fest. Accenting her luminous performance is the equally adept Murphy. Thanks to his charming good looks, Lisa overlooks his somewhat foreboding remarks in the hope they make a love connection. Murphy expresses a duality with Jackson that creates an unnerving tone for the film. The tête-à-tête with McAdams and Murphy is the focal point, and thankfully their excellent acting talents help maintain the necessary intensity.

Red Eye does run a bit short, but it helps that the thriller moves fast and that the premise is simple to follow. Having our protagonist trapped in an enclosed space at the mercy of a threatening villain keeps the audience guessing what can be done next and who will be left standing once the dust clears. The visual experience assists the story as well, many times giving the vantage of a fellow passenger or supporting character and never the omniscient presence that can many times spoil an effective thriller.

Dirty Undies
Wes Craven rounds out the cast with one of my favorite filler actors, Brian Cox (The Ring), who sports some very Craven-esque make up during his few minutes of screen time. While the scripting keeps you riveted to the story, the two main actors’ attractive, disarming features will keep your eyes glued to the screens. Since this is ultimately a PG-13 thriller, there is no skin to speak of though we do get a panty shot from McAdams’s stunt double. I know, not quite what you're hoping, but at least her double gets lots of work with the abundance of spine-tingling chases and altercations. The death toll isn’t inordinately high, but Craven saves up the mayhem for a handful of satisfyingly brutal scenes.

The Money Shot
Thanks to some clever casting, Wes Craven can rise from the ashes of the accursed Cursed with his head held high. This tale of terror is infused with a hearty dose of tension that will ripple through the viewer. Without a doubt, Red Eye proves the case for quality over quantity.

Repeat Bidness: Vacancy

*This post is part of the Week of Reel WHorror!*

Original Release: 04.20.07
DVD Release: 08.14.07
Rated R
1 hour, 25 minutes

Full Price ($$$$) < > Matinee ($$$)

"Vacancy Packs Houses."

Amy (Kate Beckinsale, Underworld) and David Fox (Luke Wilson, Scream 2), are a married couple within weeks of their divorce. Returning from a party Amy sleeps while David avoids interstate gridlock by taking the remote mountainous back roads; getting lost and stranded in the middle of the night (never a good thing). Backtracking to a nearby motel, the couple is left with no option but to stay the night and wait for the garage to open in the morning. Attempting to settle in Room 4, strange noises and bad decor force them to pop in the complimentary videos. Realizing the heinous acts recorded on the tape were taken at the motel, the pair’s differences become inconsequential when weighed against their desire to survive the night.

The trailers for Vacancy left me less than excited at venturing to see this. However, within a few moments it becomes clear that Wilson and Beckinsale are working diligently to save this potentially dicey film. Wilson employs his dry sarcastic wit, making the bitter relationship between the unhappy couple completely believable. Beckinsale brings a pissiness and irritation to Amy’s tone and mannerisms that will send an “ice-cold bitch” shiver down your spine. But Wilson and Beckinsale evolve Amy and David into terrified, God-fearing people when the ear-piercing screams and dull thud of knife in flesh blare from the motel’s ancient TV.

The emotional duress endured by the characters is only one of the driving forces. Director Nimród Antal develops an atmosphere of suspense and intensity to keep audience hearts racing (and, if like the lady a few seats over, jumping from your seat). With such a minuscule cast, the terror and panic generated by Vacancy is surprisingly immense. Unfortunately the film is not an out-of-the-park home run; the director, the producers or the story itself loses its cojones and the ending falls flat. Thankfully, the thrills and chills have more than exceeded the price of admission.

Dirty Undies

The crack of bone, shrill screams and desperate final pleas from blood stained faces will resonate in your mind even though they are the briefest of moments within the film. The struggle of their lives, for their lives, elevates the seemingly weak Amy and David into determined, resentful powerhouses, which make for a hell of a series of tense, violent encounters.

The Money Shot

It just goes to show that you cannot always judge a book by its cover, or in this case, a movie by its trailer. What looked to be a potentially painful and arduous installment in the seemingly endless stream of crap horror is actually one of the better horror flicks. Vacancy is an unnerving film (minor plotholes withstanding), and I don’t think theaters will leave the light on for the easily frightened.

Week of Reel WHorror!: Day 3

Welcome to Day 3 of the
Week of Reel WHorror!

The above image is a still from Descent. It's a shame today's installment has nothing to do with this totally awesome horror movie or the totally hot Natalie Mendoza.

After Day 2 of the Week of Reel WHorror, I was more than a bit disturbed to find so few horror films showcased in my year-plus worth of posts. To remedy this situation, I searched my pre-website digital cemetery for reviews of worthy horror films that stargazers may have overlooked upon their initial release.

Though I dug up more than fifty reviews, I whittled my selection to three in honor of Day 3, but also because fifty posts in one day would be a bitch to read! These reviews will be posted under my Repeat Bidness title throughout today.