THE WOMAN IN BLACK (2012)

February 4, 2012

 Greetings again from the darkness. The quest for quality horror films is a never-ending project. Since low budget fright fests are the easiest way to make money in Hollywood, most take shortcuts that leave us feeling cheated. This remake of a 1989 British TV horror film actually has wonderful production design … the Gothic mansion is a sight to behold. Unfortunately, the shortcut here was a story that offers little substance, despite being based on Susan Hill‘s novel.

Daniel Radcliffe (yes, Harry Potter himself) plays a young, widowed solicitor named Arthur Kipps, who is still grief stricken, and now on the verge of losing his job. He is given one last chance to prove his mettle to the firm by going to a remote village to settle the affairs of recently deceased client. His young son (Misha Handley) and his nanny are to meet him in the village a few days later.

 The local townspeople clearly don’t want him there and are constantly trying to shoo him back to London. Of course, no one ever bothers to tell him why they are frightened and why they are so angry with him for going to the old house. This mansion is a work of art. It has the necessary creep factor to star in a real horror film. The furnishings and fixtures and decor are really the star of the movie. In fact, the DVD should include a segment on the antique mechanical toys.  It’s not giving away anything to say that every time Radcliffe sees this mysterious woman in black, something bad happens in the village.  The mystery is solved easily enough as we read along while Radcliffe organizes the letters.

The annoying thing about the film is that whenever we get a chill-inducing moment like a shadow in the background or a figure passing by a mirror, it is immediately followed up by a cheap parlor trick involving a sonic blast of music and an ear-piercing scream. It’s as if the director (James Watkins) is convinced movie goers are too ignorant to know when to be scared.  His solution: provide clues to say “Scream now!” Ciaran Hinds and Janet McTeer add a touch of class to the film as Mr.and Mrs. Daily, who recently lost their son. Mr. Daily has found solace in the bottle, while Mrs. Daily teeters on the brink of insanity. My theory that no film featuring Mr. Hinds can be all bad is tested here, and Ms. McTeer was seen recently as the best thing about the Albert Nobbs film.

 On a positive note, this is a nice transition movie for Daniel Radcliffe. He has quite a career challenge as he tries to break loose of the Harry Potter clamp. He succeeds here with quite a different physical appearance, though he really has little to do but alternate between a distantly forlorn look and peering cautiously around dark corners. A couple of interesting notes: the boy playing his son is Radcliffe’s real life godson; and the actor who played Radcliffe’s role in the 1989 original is Adrian Rawlins, who played Harry Potter’s father in those movies.

By the way, how long until Daniel Radcliffe realizes he should just steer clear of train stations?

SEE THIS MOVIE IF: you are desperately seeking a horror film that isn’t a slasher … even if it’s not very good OR you are anxious to see Daniel Radcliffe first real step towards a film career outside of “Harry Potter” OR you just want to see a beautifully creepy haunted house

SKIP THIS MOVIE IF: you are expecting a classic horror story in the vein of Poe OR you have had your fill of cheap tricks designed with no purpose other than to cause viewers to jump

watch the trailer:

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Posted by David Ferguson

THE SKIN I LIVE IN (La piel que habito, sp)

November 5, 2011

 Greetings again from the darkness. I will readily admit to being a huge Pedro Almodovar fan. His films regularly place on my “Best Of” list every two years. I so admire his creativity, tough women characters, visual acumen and multi-dimensional stories. With Almodovar, we can bank on some type of dalliance with death, a brush with sexual deviance, non-linear time lines, plots that twist and turn incessantly, a color palette to make Frida Kahlo envious and psychological darkness that forces us to look inward. All of these elements are present here … yet somehow it doesn’t quite click.

 Antonio Banderas plays Dr. Robert Ledgard, a plastic surgeon revered for his work in face transplants. What the medical profession doesn’t know is that Dr. Ledgard takes the mad scientist label to whole new dimension. And he does it with the coolness reserved for the other side of the pillow. I will not go into details of the story other than to say Banderas’ character would make Dr. Frankenstein turn away in disgust.

Dr. Ledgard lives in a beautiful mansion with his protective housekeeper played by Almodovar veteran Marissa Paredes. He also has a live-in patient named Vera, played wonderfully by Elena Anaya. You will recognize Ms. Anaya if you took my advice and tracked down Mesrine parts 1 and 2. Support work is also provided by Jim Cornet as Vicente. I wish I could tell you more of the characters, but can’t without giving away too much.

 Dr. Legard and Vera are two of the most fascinating characters ever written by Almodovar, and the film is a twisted road to discomfort all wrapped up in a silky smooth picture frame. From a filmmaking perspective, I couldn’t rate it much higher. From an entertainment perspective, it would be near the bottom of the most interesting or desirable Almodovar films. Am I disappointed? Sure, a little. But not enough to override my excitement for the next film by Almodovar!

SEE THIS MOVIE IF: like me, you must see every Almodovar film OR you want to see Antonio Banderas in his most intense role in quite some time.

SKIP THIS MOVIE IF: you have yet to enter the film realm of Almodovar … this is not the best for an introduction

watch the trailer:

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Posted by David Ferguson

THE THING (2011)

October 16, 2011

 Greetings again from the darkness. Let’s tip our ski masks and flamethrowers to John W Campbell Jr. He wrote the 1938 novella (“Who Goes There?”) that has inspired 3 versions of The Thing, plus the Alien series and numerous other sci-fi movies and TV episodes. This latest version is actually a pre-quel to the 1982 film John Carpenter’s The Thing starring Kurt Russell. First time feature director Matthijs van Heijningen Jr does a nice job of staying true to Carpenter’s version and offering a back-story, while still coming across fresh for a new generation.

 Going back to 1951, The Thing from Another Planet succeeded in frightening a bunch of young filmgoers and hooking them on sci-fi and terror at the theatre. In that version, James Arness (later famous as Marshal Dillon in Gunsmoke) was a hulking creature responsible for many nightmares for kids in the 50’s. John Carpenter updated the look in 1982 with a version that has become classic sci-fi and horror, and now this version takes advantage of today’s spectacular special effects.

 The special effects do dominate and that’s not necessarily a bad thing. The creature and its process are on full display quite a lot, so instead of suspense, we get outright fright shown by the research team. If you aren’t aware, this research station is located in Antarctica, and the frozen tundra and isolation are characters unto themselves. There is very little character development in this most recent version. We do get a Ripley-esque Kate played by Mary Elizabeth Winstead (Death Proof cheerleader), a misguided scientist (are there any other types?) played by Ulrich Thomsen, and a right guy in the wrong place nice guy played by Joel Edgerton (Animal Kingdom, Warrior). The rest of the cast are mostly Norwegian dudes who, I am sure, have had better vacations than this.

The movie has a couple of very nice shots depicting the frozen terrain and a very cool overhead of the creature frozen in ice. Other than that, fans of the 1982 version will be glad to know that the flamethrowers are back, as is the dog. Just know that this one is driven by special effects, so if you are up for a creature/alien film, you’ll probably be satisfied.

SEE THIS MOVIE IF: you are a fan of either of the previous two OR you like the mixture of terror and sci-fi OR you never miss a movie featuring a flamethrower

SKIP THIS MOVIE IF: you think John Carpenter’s 1982 version can’t possibly be topped OR you aren’t the type to be impressed by gore-centric special effects OR you are protesting since Kurt Russell doesn’t make an appearance

watch the trailer:

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Posted by David Ferguson

DON’T BE AFRAID OF THE DARK (2010)

September 8, 2011

 Greetings again from the darkness. While I really enjoy a good horror movie, I have never been too fond of those that featured unexplained or other-worldly creatures. However, with Pan’s Labyrinth to his credit, Guillermo del Toro has earned my trust. Supposedly the 1973 British version of this film (Nigel McKeand teleplay) so frightened a young del Toro that it inspired him to become a filmmaker. Here he acts as producer and co-writer, while first timer Troy Nixey directs.

 What makes this one work is that it takes full advantage of setting and dark tones, rather than over-exposure of the freakish fairies that live in the ash pit. Blackwood Manor is one creepy, yet fantastic mansion that belonged to a famous artist who was killed in the basement. Also, the three leads are good in their roles. Guy Pearce plays the struggling businessman who gets his 10 year old daughter forced upon him by his ex-wife. Katie Holmes plays Pearce’s girlfriend and the interior designer in charge of the mansion re-do. The real gem of the film is Bailee Madison, whom you will remember from Bridge to Teribithia.

 Putting a cute kid in peril is one of the most over-used cliches in horror films, but here young Sally (Madison) is actually quite brave and rational … she is trying to solve this mystery without bothering the oh-so-busy adults. As is customary, the dad (Pearce) is clueless and the last to catch on, but there is a very interesting dynamic between Holmes and Madison. Those are the kind of details that make this one worth seeing for all you lovers of horror. Just remember the second rule of real estate: never buy a mansion named Blackwood.

SEE THIS MOVIE IF: you never miss a decent horror film OR you want to see Jack Thompson (so great in Breaker Morant) as the crusty old caretaker

SKIP THIS MOVIE IF: little creatures in the basement is all you need to know to find something else to do

watch the trailer:

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Posted by David Ferguson

THE LAST CIRCUS (Balada triste de trompets, Sp.)

August 28, 2011

 Greetings again from the darkness. Here’s hoping I don’t get booted from proper society for admitting a strange fascination and enjoyment from the latest directorial effort by Spanish cult favorite Alex de la Iglesia. The film is assembled with unequal parts: political parody, black comedy, dark horror, outlandish action and a bizarre love triangle. All of that plus some of the freakiest clowns you will ever see! I am not really familiar with Mr. De La Torre’s previous work but evidently he has quite a following in Spain, though he has found only limited success in the U.S. with The Day of the Beast. Neither am I an historical expert on the Spanish Civil War or the regime of Generalissimo Francisco Franco, both of which are on-screen targets of the director’s true feelings. Still, the movie is such that it kept me engaged and even enthralled the entire time … especially in Act I.

 The film begins in 1937 when a faction of the Republican Army crashes a kids’ circus performance and forces the performers to join in the crusade. One of the clowns leaves behind a young son while simultaneously picking up a machete and destroying a platoon almost single handedly – while still in women’s clown costume! It is a visual I have yet to erase from my memory.

Six year later, the clown is forced into servitude constructing the famed Valley of the Fallen. His son tracks him down and is offered “revenge” as the only redemptive action by his father. Flash forward to 1973 and the young boy is seen joining a traveling circus as the “sad clown”. This circus troupe is run by the ruthless and sadistic “funny clown” who is clearly the filmmakers representation of Franco. The foreshadowing scene comes in the initial meeting between the two clowns as ‘funny’ tells ‘sad’ if he weren’t a clown, he’d be a murderer. ‘Sad’ responds “me too”. Let the mayhem begin! The rivalry and violence escalates as Javier, the sad clown, is led on and falls for the acrobatic girlfriend of Sergio, the funny clown. As the story moves forward both Javier (Carlos Areces) and Sergio (Antonio de la Torre from Volver) become more grotesque and violent in their attempts to capture Natalia (Carolina Bang) the acrobat. It all ends with a breathtaking climb and operatic duel atop the memorial in the Valley of the Fallen.

 There is no way to describe the trip from machete clown to the tragic dance atop the cross. It is a mash-up of Inglorious Basterds, Freaks, Machete and Phantom of the Opera. Additionally, there are countless homages to classic films through the years (North By Northwest, Vertigo, and many more) and a nearly operatic feel to the story and some scenes. Singer Raphael‘s version of “Ballad of the Sad Trumpet” plays a role, as does a crumpled trumpet. I certainly see this one becoming a regular on the midnight movie circuit, and rightfully so. It has everything a viewer could possibly want … provided they are in an altered-state-stupor and looking for the best violent clown movie currently showing!

SEE THIS MOVIE IF: you are a fan of 1970’s horror films but have always wished they contained significantly more violence and a few demented clowns

SKIP THIS MOVIE IF: you are already frightened of clowns OR you are my mother

watch the RED BAND trailer (not suitable for under age 17):

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Posted by David Ferguson

FRIGHT NIGHT (2011)

August 22, 2011

 Greetings again from the darkness. We can’t really discuss this movie without referencing the 1985 original. Writer Tom Holland was involved with both (including directing the original) and gets credit for updating the story while maintaining the look and feel. It seems as if vampires are everywhere these days, but the Fright Night recipe expertly mixes suspense, danger and campy humor.

Charley (Anton Yelchin) and his single Mom (Toni Collette) live in a quiet Las Vegas suburb. Charley’s nerdy friend Ed (Christopher Mintz-Plasse) notices the place is getting quieter everyday … people are disappearing! These disappearances correspond with the arrival of Charley’s new neighbor Jerry (Colin Farrell). Yep … Jerry the Vampire.

 Charley at first ignores Ed’s investigative skills and concentrates on Amy (Imogen Poots), the out-of-his-league girlfriend whom he desperately wants to get to know better. And then … Ed disappears. Charley tries to push Amy aside and solve this mystery. It doesn’t take long since he breaks into Jerry’s house and discovers where he stores the bodies of his victims. As you might expect, Jerry doesn’t take well to the invasion.

Charley goes to Vegas showman Peter Vincent (David Tenant) to seek help in destroying Jerry. See, Peter Vincent’s crazy Vegas show is all about fighting the evil dead among us. Of course, Vincent isn’t quite as tough off stage.

 There are plenty of moments of campy fun as Charley pursues Jerry. Not the least of which is a fender bender which includes Chris Sarandon, who played Jerry in the original. While it’s a nice homage, it just made me miss Roddy McDowall, who originated the role of Peter Vincent. Still, watching McLovin as a tough-talking vampire is quite a bit of fun as are the few moments of doubt from Collette and Poots.

Craig Gillespie directs the film, and his success a few years ago with the indie hit Lars and the Real Girl brings an added touch of class to the film. He really does a nice job of balancing the terror of the story with the humor necessary to make this one enjoyable and a bit different.

 A tip of the cap to the casting of the movie. Yelchin (Star Trek, The Beaver) is a real up and comer. Ms. Poots was very effective in Jane Eyre and it will be interesting to follow the direction of her career. Collette is a real pro. Colin Farrell seems to really enjoy his turn as a vampire and adds some subtleties and quirks that make it fun. David Tenant (“Dr. Who”) really captures the Vegas Peter Vincent. Mintz-Plasse is one of the few who can effectively bounce from high school nerd to powerful vampire. Must also mention some hidden gems: singer Lisa Loeb makes a quick appearance as Ed’s mother, Charley’s friend Mark is played by Dave Franco – brother of James (you will spot the resemblance), and Peter Vincent’s girlfriend Ginger is played by Sandra Vergara, sister of Sofia from “Modern Family” (again, you can’t miss the resemblance).

In this day and age, it isn’t easy to assemble such a strong cast, script and director for a movie that isn’t centered around alien action, terminal disease or toilet humor. If you enjoy campy horror films done with an acknowledged tongue planted in cheek, then I recommend this one. It delivers exactly what you hope and expect.

SEE THIS MOVIE IF: you enjoyed the 1985 original OR you get a kick out of campy vampire flicks

SKIP THIS MOVIE IF: you prefer your vampire movies to be dark and mysterious OR you are convinced no one can ever be a better vamp than Robert Pattinson

watch the trailer:

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Posted by David Ferguson

JAWS (1975) revisited

July 15, 2011

 Greetings again from the darkness.  Ba-dum.  Two of the more recognizable notes from any movie musical score are courtesy of 5-time Academy Award winner (45 nominations!), composer John Williams.  A truly great score plays a vital role in the emotional connection that a viewer makes with a movie.  In some movies, we barely notice the music.  Not so with the Jaws theme.   In 1975, it signaled an immediate jump in our blood pressure and has since glided right into becoming part of our societal lexicon – musical slang for “danger is on the way”.

You are probably wondering why I am writing about a 36-year old movie … especially one that revolves around shark attacks.  Haven’t we had more than our share of monster and disaster flicks?  Well, my friends, it’s time for you to re-discover the wonderment, joy, anxiety, humor and humanity of Jaws.  I did just that last evening at a screening provided by the Dallas Film Society, Dallas Morning News and film critic Chris Vognar.

 When Jaws was first released in 1975, I saw it three times over three consecutive days.  I couldn’t get enough!  It was, after all, the first “summer blockbuster”.  At the time, I was the ultimate beach lover, and along came a movie that was so frightening, it convinced people to stay out of the water!  Over the years, I have watched it quite a few times on cable/tape/DVD, but not until last evening was I able to re-live that theatrical experience from the summer that changed movies forever.  Last night the theatre was full, and nearly a third of those in attendance claimed to have never before seen the movie.  So my hope is that you will make time for this classic film … whether it’s your first time, or your twentieth.  Introduce it to your kids, grandkids, nieces and nephews (if they are ready).   Talk about what makes it great, and about all the movies it has since influenced.

Rather than “review” the movie, I will point out some interesting details on how it was made, its legacy and even some of my favorite moments from the movie.

Director Steven Spielberg was 28 years old when the movie was released.  He had already made some noise as a filmmaker with Duel and Sugarland Express, but it was the success of Jaws that labeled him wunderkind.  The now-legendary Spielberg went on to direct such classics as Close Encounters of the Third Kind, three Indiana Jones movies, The Color Purple, the first two Jurassic Park‘s, Schindler’s List, and Saving Private Ryan.  He is also listed as Producer on more than 120 other projects.  He is the ultimate ‘mover and shaker’ in Hollywood.   But Jaws was his last movie where the burden of expectations and box office results were minimal.  Jaws went on to gross almost a half billion dollars worldwide … an unheard of level at the time (movie tickets cost about $2.oo each in 1975).

 The story is based on the first novel by Peter Benchley, who would later write “The Deep” and “The Island“.  Mr. Benchley also appears briefly in the film version of Jaws as a reporter on the Amity beach.  The novel was a best seller, but much darker in tone than the Spielberg film.  Spielberg turned the book’s key characters into less abrasive personalities, while maintaining the colorful attitudes.

 Speaking of characters, many people tend to focus on Roy Scheider‘s Martin Brody,  Chief of Police on Amity Island.  He really does a nice job as the no-nonsense non-islander attempting to fit in without poking too much fun at the “problems” of the locals.  Others are drawn to the performance of Richard Dreyfuss as Oceanographer Matt Hooper.  Dreyfuss is far and away the most energetic of the actors, and his cocky, know-it-all, rich boy makes for a terrific contrast with the other more subdued characters.

The guy to really watch in this movie is the great Robert Shaw as Quint, the crusty local fisherman who vows to kill the shark for a huge fee.  Spielberg originally wanted Lee Marvin for the role, but it’s difficult to imagine anyone other than Shaw as the tough-as-nails Quint.  His sililoquy regarding his USS Indianapolis ordeal is mesmerizing and fascinating … and that scene alone should have won him the Best Supporting Actor.  Yet somehow, he wasn’t even nominated in the year that had, yes, George Burns winning for The Sunshine Boys.  Shaw’s character comes across as true salt of the sea, and watching him co-exist on a small boat with Scheider and Dreyfuss for the entire second half is movie-watching glory.  As they compare scars and enjoy an adult beverage, we are afforded a brief laugh outloud moment.  And don’t miss Scheider giving momentary consideration to flaunting his appendix scar.

 Much has been written over the years about the animatronic shark.  It was nicknamed Bruce, after Spielberg’s attorney.  Bruce gave the filmmakers a great deal of trouble and, because of that, the film works even better.  We don’t glimpse the shark until well into the movie, giving tension and anticipation much time to build.  Until the last few minutes, we really don’t get a full-on view of the shark, but it SEEMS like we do!

The Mayor of Amity is played by Murray Hamilton.  Mr. Hamilton is well remembered as Mr. Robinson … husband to THAT Mrs. Robinson … in The Graduate (1967).  In that movie, he refused to shake Dustin Hoffman‘s hand.  Here, he refuses to close the beaches, for fear of losing tourist revenue.  He only has a hand full of scenes in Jaws, but each is quite memorable.  Watching him speechify to the cameras, politicize to the citizens, and nearly break down while smoking in the hospital, adds depth and intensity to the film.

The trivia associated with Jaws is abundant.  What’s really important is that this is an incredibly well made movie that holds up extremely well today.  When you watch it, notice how you immediately understand the feelings of the locals at the town hall meeting, the desperation of the deputy, the shame of the Medical Examiner, the bravado of the fishermen and the confusion of Brody’s wife.  Notice the camerawork as it varies between the viewpoint of the shark, the viewpoint of a character, or interested onlooker to the beach happenings.  Check out the masterful film editing with three characters battling for space aboard the Orca.  Great stuff.

Jaws was nominated for Best Picture, but lost out to One Flew Over the Cuckoo’s Nest.  It did win for Best Editing, Best Sound, and Best Music (score).  Its lasting impact includes the genius of Spielberg, turning Summer into Movie time, and that iconic score.  Ba-dum.  Stay out of the water!

Check out the original trailer from 1975:

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Posted by David Ferguson

INSIDIOUS

April 9, 2011

 Greetings again from the darkness. Ahh, the lost art of horror films. I don’t mean slasher films or gore-fests. I mean real horror films. The Saw series falls into gore-fest and its collaborators, director James Wan and writer Leigh Whannel, team up again for a more traditional horror film … one designed to scare the viewer, rather than just gross out society.  Of course, recommending a horror film is as risky as recommending a comedy.

The film opens as Patrick Wilson and Rose Byrne move into a beautiful old house with their two young sons and infant daughter. By beautiful house, of course I mean terribly creepy with nooks and crannies, creaking floorboards, squeaky doors and an  attic designed by Satan. The mom (Byrne) quickly realizes things aren’t just right with this house, and as is customary in horror films, the dad finds some lame excuse (grading test papers??) to work late so the mom and kids can be haunted without him.

There are some bits and pieces from classic horror films like The Exorcist, Poltergeist, Amityville Horror and, yes, Saw (but not the gory stuff). Remarkably, this film is rated PG-13, which means the filmmakers really have to tell a story … and they do … well as much as can be hoped for in a fright film.  There are even touches of humor throughout.

The mom gets so desperate, she begs to move. They do. Guess what? Things aren’t better. So mother-in-law Barbara Hershey (from creepy Black Swan) says she knows someone. Next thing you know, two goof-balls (one is the film’s writer Whannel) who look like they should have their own cable show are in the house confirming something is definitely amiss. So they call in their boss. Unfortunately, the great Zelda Rubinstein (Poltergeist) passed away, so our expert is played by Lin Shayle. She does an effective job explaining astral projections and the next thing you know all hell has broken loose. Nice work lady.  Surely she requires payment upfront.

What makes the film work are the characters, the setting, the atmosphere and the really nice build-up of suspense and drama. Sure I think there were some details that could have been handled much better. For instance, the “other” brother looks like he is going to be a factor, but instead all of the attention goes to Ty Simpkins as Dalton. Simpkins was seen recently with Russell Crowe in The Next 3 Days. Also, more of the backstory with Hershey and Wilson’s childhood could have provided some twists.

Still, I will say if you are a fan of horror films, this one is worth seeing. If nothing else, you will absolutely love the opening credits with their haunted images and smoky font. It’s a bit of a fun challenge to find the “image” in each of the opening sequences. Just make sure to finish your popcorn before the movie starts. That stuff is too expensive to be tossing across the aisle when you JUMP!!

SEE THIS MOVIE IF: you are always game for a real horror film … one that scares you with characters and atmosphere, rather than splatter.

SKIP THIS MOVIE IF: you are expecting the next generation of Saw OR you can’t imagine an effective PG-13 horror film (in other words … you need gore).

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Posted by David Ferguson

DEVIL (2010)

September 18, 2010

 Greetings again from the darkness. For those of us who enjoy trying to make sense of the unexplainable, M. Night Shyamalan is one filmmaker for whom we always hold out hope. Wisely backing away from the director’s chair this time, Mr. Shyamalan created the story and produced the film. While not extraordinary, it is one of his best in quite awhile.

The beauty of the story is its simplicity. It is actually presented to us in the form of folk legend through the narrator. Basically, the devil sometimes takes human form and proceeds to steal souls … often in the process, innocent (and not so innocent) people are killed. Here five seemingly random people end up in the same elevator and all hell breaks loose (literally). The detective called to the scene is battling his own internal demons and, of course, that plays a major role in how the story develops and ends.

A mechanic (Logan Marshall-Green), a young woman (Bojana Novakic from Drag Me To Hell), an old woman (Jenny O’Hara), a security guard (Bokeem Woodbine) and a mattress salesman (Geoffrey Arend) are joined together in the claustrophobic nightmare of a stuck elevator. One by one, each is affected. All the while, distrust abounds. Chris Messina plays the talented detective trying to rescue them and fruitlessly apply logic to the unexplained happenings occurring right before his eyes.

The film begins with an extended, disorienting upside-down view of downtown Philly, and then proceeds to take us through some unusual camera angles into the building, down the elevator shaft and into the lobby. This is our initial intro to the unlucky five. It’s a very interesting start to an entertaining thriller.

The director is John Erick Dowdle (Quarantine) and he does an effective job of creating fear within the confined space of the elevator. He manages to create camera angles despite the lack of space. The use of the security camera and booth is brilliant and allows the viewer to be both inside and outside … both are frightening in their own way. Welcome back, Mr. Shyamalan!

SEE THIS MOVIE IF: You can suspend disbelief and enjoy a creepy thriller OR if just the thought of being stuck in an elevator makes you queasy and weak in the knees.

SKIP THIS MOVIE IF:  Your idea of a great weekend is a documentary festival OR if just the thought of being stuck in an elevator makes you queasy and weak in the knees.

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Posted by David Ferguson

A NIGHTMARE ON ELM STREET (2010)

May 9, 2010

 Greetings again from the darkness. OK, if you are seeking cinematic genius, no need to check this one out. On the other hand, if you enjoy a good scare, a creepy story and a really messed up bad guy … the latest reincarnation of Freddy Kreuger may be just what you have been dreaming of.

The list of Elm Street alums is pretty impressive: Johnny Depp, John Saxon, Laurence Fishbourne, Patricia Arquette and of course, Robert Englund. Sadly, the new one only gives us a bunch of mid-20’s types as high schoolers (yes, STILL a pet peeve of mine), though Kate Cassidy is the daughter of former pop star David Cassidy, and Rooney Mara is Kate’s sister. Kyle Gallner and Thomas Dekker are familiar enough and wear sufficient bleary-eyed make-up to help us forget their real ages.

Of course, the real stars here are Freddy and the dream sequences. We get a decent enough scrip without the total camp of the later Elm Street films. The first time director is Samuel Bayer, who made his name as a music video director. His eye for visual effects and camera shots is a plus here. I really enjoyed some of the spectacular individual shots, even if the overall flow was a bit choppy.

Wes Craven’s original creation lives on through the fine work of Jackie Earle Haley as Mr. Kreuger. Many will remember Jackie Earle as the dirt bike riding center fielder in the first Bad News Bears. He is all grown up now and experiencing a really nice career revival. He possesses the necessary creep factor to pull off this nastiest of nightmares.

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Posted by David Ferguson

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