Today's Review: Brimstone

Het duurde zeven jaar en bleek een project vol tegenslagen, maar Martin Koolhovens passieproject Brimstone is er eindelijk van gekomen. De moeizame totstandkoming was haast net zo'n hel als het Bijbelse equivalent waarnaar de film veelvuldig verwijst. Het moet gezegd worden, Brimstone is een indrukwekkende film, maar doet slechts sporadisch denken aan het westerngenre waaraan Koolhoven dikwijls zijn liefde verklaarde. De western zoals de meesten die kennen is hier amper aan de orde, maar blijkt verdraaid en zelfs geperverteerd tot een shockerende belevenis die meer wegheeft van een volbloed horrorfilm - met een intrigerend Nederlandse invalshoek - slechts gesitueerd in de 'Old West'. Het is juist die groteske draai aan een overbekend genre dat Brimstone tot een verrassend eindproduct maakt, hoewel niet iedereen Koolhoven die originaliteit in dank zal afnemen.

"Ik zal je vertellen over de hel. Je hebt je vast afgevraagd hoe het er moet zijn. Het is veel erger." Aldus spreekt de sinistere prediker, vers aangekomen in een strenggelovig pioniersgehucht, zijn parochie toe. De jonge moeder Liz zit in de zaal en kent de hel die deze man met zich meebrengt. Want hij is een niet aflatende Geest der Wrake die haar al haar hele leven achtervolgt, vastberaden haar te straffen voor haar zonden. Algauw stort haar vreedzame leven in en dreigt ze al haar familie aan de maniakale man Gods te verliezen. Koolhoven vertelt de strijd tussen de onderdrukte Liz en de onderdrukkende dominee in een viertal hoofdstukken, waarbij hij opent in het heden ('Openbaringen'), vervolgens twee maal in het verleden graaft ('Exodus' en 'Genesis') alvorens het conflict in het laatste hoofdstuk ('Vergelding') tot een grimmig einde komt. Tussendoor trekt hij een beerput van gruweldaden en vrouwenhaat open, die de kijker tweeënhalf uur murw slaat. Het voelt soms exploitatief, maar het is Koolhoven niet te doen om het expliciete (naar!) of suggestieve (nog naarder!) geweld. Brimstone is een strijd om het bestaan, zoals in zoveel westerns, zij het vanuit een vrouwelijk perspectief, in een verstikkende wereld waarin het ene geslacht heer en meester over het andere is. Met dank aan het vanuit Nederland geëxporteerde orthodoxe calvinisme.

Uit het relaas van Liz blijkt dat religie al haar hele leven een vrijbrief is voor haar fysieke en geestelijke onderdrukking. Ze werd geboren in een gemeenschap van naar het westen geëmigreerde Hollanders, die in hun religieuze waanzin meenden Gods uitverkoren gemeenschap te zijn. Dat gold alleen voor de mannen, want de vrouwen mocht al het kwaad aangedaan worden dat de Bijbel opsomt. Liz' moeder was weinig meer dan de slavin van de dominee en werd met een luguber ijzeren gezichtsmasker gestraft voor het verkondigen van een eigen mening. Liz nam op jonge leeftijd de benen om te eindigen in een hoerenkast, waar ze desondanks meer geluk vond dan in haar ouderlijk huis. Een tweede ontsnapping aan de prediker kostte haar haar tong. Nu moet ze opnieuw de strijd met hem aangaan om niet alleen zichzelf maar ook haar dochtertje van diens kwaad te bevrijden. Een jonge vrouw op de vlucht voor een haast onkwetsbare, demonische priester roept bovenal het gevoel van een horrorplot op. Het vele bloedvergieten lijkt dat te onderstrepen, maar voor Koolhoven is dit slechts een uitvloeisel van de bikkelharde worsteling om te overleven in het wilde westen. Geweld is daar altijd een essentieel onderdeel van geweest.

Wie op zoek gaat naar typische westernelementen zal ze zeker vinden. Weidse woestijnlandschappen, joviale hoeren en pistoolduellen zijn alle aanwezig, maar meer op de achtergrond dan verwacht. En bovendien vaak vervormd. De mysterieuze gunslinger is hier bijvoorbeeld geen nobele revolverheld die het onschuldige meisje zal redden. Koolhoven kent zijn westerns, maar citeert opvallend spaarzaam uit het genre. Het is hem niet om een hommage te doen, maar om het aanbrengen van een eigen draai. Die vond hij in dit Nederlands getinte verhaal over Amerika's religieuze wortels. Niet geheel verwonderlijk had het buitenland wat moeite met de overdadige seks- en geweldscènes, waardoor de film maar met moeite financiering kon vinden. Weinig studio's durfden hier hun vingers aan te branden. Het is echter die unieke kruising die de film zijn intrigerende meerwaarde geeft.

Gelukkig gaan de acteurs helemaal mee in Koolhovens tegendraadsheid. Dakota Fanning schudt effectief haar tienerimago van zich af om volwassen te worden als actrice in de rol van mannetjesputter Liz die weigert zich de mond te laten snoeren. Kit Harington zet zijn vetste Amerikaanse accent op als schimmige outlaw. Het is echter Guy Pearce die de meeste indruk achterlaat als de angstaanjagende fanaat, die mét Nederlands accent onheilspellende Bijbelcitaten prevelt. Koolhovens afdelingshoofden, allen Nederlanders, staan garant voor een stijlvolle aankleding en beeldschone cameravoering, wat het tekort aan westernlandschappen ruimschoots compenseert. Als zelfbenoemde western zal de film desondanks verkeerde verwachtingen scheppen en de gruwelen zullen velen niet kunnen behagen, maar Koolhovens Brimstone is beslist een waardevolle Hollandse toevoeging aan een beproefd Amerikaans filmgenre.

De Tien Beste Films van 2016

Hoewel 2016 niet zo sterk was als 2015 - echte levensveranderende titels bleven achterwege - viel er tussen al het overhypede Hollywoodspektakel en het bescheidener werk in de filmhuizen toch voldoende te genieten om van een geslaagd bioscoopjaar te spreken. Mijn persoonlijk record aan bioscoopbezoeken ging ruimschoots aan diggelen met maar liefst 102 gangen naar de bios 'voor de lol' en 32 persvoorstellingen, waardoor ik met enige zekerheid durf te zeggen dat ik al het belangrijkste, niet te missen materiaal daadwerkelijk ook niet heb gemist. Deze tien titels - en de re-release van de onsterfelijke klassieker Once Upon a Time in the West, die als heruitbreng helaas achterwege moet blijven - bleven me het meest bij en kan ik iedereen met een beetje interesse in bewegend beeld van harte aanbevelen.

10: The Wailing (Hong-jin Na, Zuid-Korea)

Hoewel in eigen land niet eens zo bijster populair, viert Koreaanse horror onder genreliefhebbers wereldwijd al jaren triomfen. Spijtig genoeg blijft de meeste titels een Nederlandse release bespaard, maar The Wailing vormt een aangename uitzondering. Na's bizarre cocktail van politiekolder, Westerse religie, Oosterse mystiek en nagelbijtende suspense houdt de kijker in een relaas over gruwelijke moorden, duivelse verschijningen en vaderlijke zorg 156 minuten lang in een constante staat van verrassing.

9: Hell or High Water (David Mackenzie, VS)

De teloorgang van het platteland door de economische misère levert deze bijzonder puike neo-Western op, waarin een goede vader en zijn minder goede criminele broer het heft in eigen handen nemen en terugnemen wat het hunne is. Gevatte dialogen met aanstekelijke humor en fraaie landschapsvista's enerzijds, anderzijds stof tot nadenken en de vraag aan wiens kant we moeten staan, die van de wanhopige boeven of de plichtsgetrouwe maar vuilbekkende dienders die hen moeten opsporen? Geen daadwerkelijke desperado's hier, wat garant staat voor een onontkomelijk dramatische ontknoping.

8: The Revenant (Alejandro Gonzalez Inarritu, VS)

Ook dit overblijfsel uit 2015 mag een neo-Western genoemd worden, maar is vooral een schokkend wraakepos. Leonardo DiCaprio acteerde zichzelf dan eindelijk naar die lang verdiende Oscar als een voor dood achtergelaten pionier die zich in de barre winter omstreeks 1820 tegen alle natuurwetenschappen in in leven weet te houden door pure wraakzucht jegens de man die zijn zoon doodde. Schitterende locatiefotografie, innovatieve cameravoering en acteerprestaties die nog lang bijblijven maken de worsteling met de wildernis buiten en binnenin de mens tot een zinderende helletocht.

7: Zootropolis / Zootopia (Byron Howard & Rich Moore, VS)

Disney's meest politieke tekenfilm tot dusverre maakt voor de verandering nou eens verhaaltechnisch effectief gebruik van het concept van 'sprekende 'beestjes' om ons een ingenieuze parabel over verontrustende ontwikkelingen in onze dagelijkse maatschappij voor te schotelen. In een wereld vol dieren proberen schimmige krachten de burgerij op te splitsen door middel van irrationele angst. Een dapper konijn en een slinkse vos moeten een onwaarschijnlijk bondgenootschap aangaan om de ineenstorting van de samenleving te voorkomen. Intrigerende politieke parallellen en legio geslaagde woordgrapjes voor de ouders, visueel spektakel, leuke liedjes en fijne personages voor de koters.

6: Kubo and the Two Strings (Travis Knight, VS)

Toch zou die Oscar voor Beste Animatie heel goed aan Zootropolis' neus voorbij kunnen gaan, ten faveure van Kubo and the Two Strings. Kubo heeft wellicht niet zo'n geraffineerd ideologisch verhaal, maar de stop motion animatie is wonderschoon, van het allerhoogste niveau wat studio Laika tot nu toe heeft geproduceerd. Het verhaal over een kleine jongen met magische gaven die een boze geest moet uitbannen met behulp van de in een aap en een strijdkever gereïncarneerde zielen van diens ouders, is geworteld in de beste mythische tradities, Japans of westers.

5: Arrival (Denis Villeneuve, VS)

Villeneuve bewijst opnieuw zijn creatieve genie in dit fascinerende, nadenkende verhaal over een buitenaardse aankomst. Wanneer intimiderende ruimteschapen op Aarde arriveren, dreigt de mensheid haar eigen wereld in paniek in brand te steken. Slechts een poging tot wederzijds begrip leidt tot het afwentelen van de ondergang, in dit naar Hollywoodmaatstaven diepzinnige wetenschapsdrama dat het niet van bombastisch spektakel maar van enerverende expositie en een wetenschappelijk gefundeerd plot moet hebben. Een plottwist á la Interstellar, maar dan minder ridicuul, ligt in het verschiet en zal niet allen kunnen behagen, maar Villeneuve komt er ruimschoots mee weg.

4: Deadpool (Tim Miller, VS)

Wie de superheldenrage in Hollywood na een dik decennium onderhand wel zat is, mag zich laven aan deze subversieve anti-held, die zijn heroïsche tegenhangers met aanstekelijk succes op de hak neemt. De onderbroekenlol en het expliciete geweld is wellicht niet voor iedereen even aangenaam, maar Deadpool weet een groot aantal demografieën te verenigen in zijn bizarre hoedanigheid als schunnige superheldenromkom. Ryan Reynolds rekent bovendien fenomenaal af met de fouten uit zijn verleden in deze herschepping van de 'Merc with a Mouth', tot grote vreugde van zowel Marvel-fanboys als het algemene publiek.

3: Toni Erdmann (Maren Ade, Duitsland)

Voor aangrijpender humor met een herkenbaar alledaags hart moeten we dit jaar echter in Duitsland zijn. Ondanks de imposante speelduur van 162 minuten laat Toni Erdmann ons geen moment onberoerd in zowel tragiek als hilariteit in de queeste van een vader diens volwassen dochter nieuwe levenslust te schenken. Die raakte ze kwijt aan het grijze bedrijfsleven, dus infiltreert hij in deze genadeloze wereld met niets meer dan een pruik en valse tanden om haar terug te veroveren. Fantastisch optreden op alle fronten van Peter Simonischek als de titelfiguur. Terechte kans op Oscar voor Beste Buitenlandse Film.

2: The Red Turtle (Michael Dudok de Wit, Frankrijk/Japan)

Die nominatie zou echter ook heel goed kunnen passen bij The Red Turtle, het onwaarschijnlijke maar bijzonder ontroerende cinematisch kind van Nederlandse, Franse en Japanse origine. Minimalistische maar emotierijke animatie en dito dialogen in dit verhaal over de worsteling van een schipbreukeling om zich op een eenzaam eiland in leven te houden, en hoe een mysterieuze rode schildpad hem doet berusten in zijn lot. Zakdoeken mee voor deze weergaloos fraaie contemplatie over een menselijk leven.

1: Rogue One: A Star Wars Story (Gareth Edwards, VS)

Ondanks alle emotionele pracht en praal van de voorgaande titels kan een geek als ik echter niet anders dan volledig meegaan in de monumentale triomf van Rogue One. Hoewel doorspekt met (heerlijke!) nostalgische verwijzingen naar het roemruchte verleden, blijkt de film toch een eigen kloppend hart te kennen als oorlogsfilm met opmerkelijk duistere diepgang. Deze beste film uit de reeks - feitelijk niet eens echt in de reeks! - sinds Return of the Jedi is zowel de ultieme knipoog naar het verleden als de belofte voor de toekomst dat goede Star Wars films onder de doctrine van Disney nog steeds tot de mogelijkheden behoren.

Today's Review: Sneekweek

Another week, another review:

Sneekweek - Recensie

Expectations weren't high, and with good reason it turns out. Dutch movies usually aren't great to begin with, but Dutch movies emulating popular American films are often worse. In this case, it's Scream that's being "hommaged". This is a horror comedy made by people who obviously love horror films and have seen their fair share of them. But they've never actually made one before, and it shows.

The plot starts out oh so conventional. A bunch of students accidentally get someone killed in a silly game and do the dumbest thing imaginable (which is usual in this genre): they cover it up and try to forget about it. It obviously doesn't work, and when we catch up with them two years later, the recently graduated college kids turn out to be using not only the fun type of drugs to cope with their shady past. The standard horror trope archetypes are applied to these characters, the likes we've seen a thousand times before. The fact they spend most of the movie either bickering or engaging in supposed sexy slang doesn't make us care at all for them, we just want to see them die horribly fast. For that, the movie certainly takes its time. The masked killer soon stalks the premises of their backwood residence - insofar there are any backwoods in Friesland - but it takes quite a while before people really start dying. Meanwhile, our patience is tested when the kids argue their way from one party to the other, accompanied by obnoxiously loud techno music. To appeal to the modern generation I guess.

And then the second half of Sneekweek arrives. All bets are off as to the identity of the killer. It's not as obvious as you might think. In fact, it's not considerably complicated either, the movie just feels like making it so by twisting things around to such an extent that everybody is suspect. The kills pick up pace rapidly, but leave a lot to be desired in terms of originality or scariness. Not to mention in terms of looking convincing, which they don't. The story quickly turns equally messy, until the final reveal which feels like a big letdown. At least the comedy starts kicking in by providing a few good laughs to horror aficionados, including a memorable oneliner or two. These obviously reference the genre more than they do the movie itself, as is the Sneekweek's intent. The movie's whole set-up is one big reference to the genre, playing with conventions and adding narrative surprises by making things seem different than they are based on what you expect from a slasher movie. Thing is, this sort of film is hardly novel by now. In fact, Sneekweek's prime example Scream is already 20 years old by now, and has been referenced so often that making similarly selfreflexive films has become a horror staple itself.

Sneekweek hardly innovates. It does surprise from a narrative stance, but not in a satisfactory way. The movie desperately tries not to adhere to our expectations, and thus ends up confusing audiences more than frightening them. Unless they didn't see Scream or any similar self referential slasher films these past two decades. Considering the movie seems to focus on an audience of 16 to 18 year olds with its young cast and irritating soundtrack, there's bound to be a few people who feel this horror movie was original. Whether they'll enjoy it remains another question.

Today's Review: The Green Inferno

Second review for FilmTotaal is up:

The Green Inferno - recensie

Another dud. Granted, a cannibal movie isn't for most audiences to begin with. The number of people with a morbid interest in seeing one human being graphically killed and devoured by another isn't particularly big. Of course, horror afficionados are the target audience here, but they too won't like what they see. For a movie that claims to want a return to the gore and social commentary of the Italian cannibal movies of the Seventies and Eighties, there simply isn't a lot of cannibalism in The Green Inferno. Number of people brutally murdered, cut to pieces and ingested, spoilers!: just one. A good fifty minutes into the film, which only lasts just over ninety to begin with.

But at least it's a particularly gory death that feels indeed strongly reminiscent to those old movies this movie is inspired by, like the infamous Cannibal Holocaust. Unlike most other deaths in the film, which are generally caused by arrows shot through the neck. But what of the social commentary on the appetite of the mass media, which also formed a strong ingredient back in the old days of cannibal gonzo? Problem is, the movies of the present day simply aren't as bloodthirsty as those in the early Eighties (unlike television, but that's another matter entirely). Sure, there's still plenty of gore in horror movies, but as graphic as the original cannibal movies? Not to mention acts of genuine animal cruelty are (fortunately!) outlawed today. So in The Green Inferno it's social media that is critiqued, rather than the violence in fellow contemporary movies and the audience's desire for ever more murderous thrills. The use of mobile phones and live streaming employed by naive activists that think their actions can actually change anything in the Third World where corrupt government officials and big corporations break their own laws for profit every day, backed by private militias. Activism via social media is no good in such scenarios, says director Eli Roth. Such comments on the use and abuse of the media are as far as The Green Inferno goes, before Roth finds it necessary to take a stand against female genital mutilation. A noble endeavour, but considering such acts are hardly practized in the Amazon rainforest, it feels awkwardly out of place, just an added sensational bodily horror show detracting from the actual cannibalism. As if eating people isn't horrific enough.

It certainly isn't in The Green Inferno. This is not a cannibal movie like its predecessors, it's a mixed bag that just happens to have a few acts of cannibalism in it. And it's a boring bag at that, with annoying cardboard characters you want to see chopped to bits but which you are denied to see die those expected brutal deaths (except for that one guy). Horror fans will be bored, while the rest of the audience won't bother anyway. If Roth thinks cannibal movies will return thanks to this flick, he's mistaken, his less than subtle hint at a sequel notwithstanding. Considering the movie had a hard time finding distributors and was shelved for the better part of two years before its release, tells you cannibal films are likely a thing of the past, and probably for the better.

Today's News: Joker visits mass

This week's news, second batch:

Eerste trailer Black Mass

Another weirdo on Johnny Depp's resumé. But this one proves less amiable than the likes of Willy Wonka, the Mad Hatter or Jack Sparrow. This is as creepy a psychopath as they come. It's not the first time Depp plays a notorious criminal - his take on John Dillinger in Public Enemies springs to mind, not to mention singing serial killer Sweeney Todd - but this isn't a charming rogue, this is a sinister killer with a clear talent and love for ruthless violence. A fact well illustrated by the dinner scene running through this trailer. It's hardly the first time a crime boss character intimidates an underling on film by questioning his loyalty after confiding him with whimsical information, but Depp plays it eerily enough to make you forget that feeling of déja vu. I'm quite convinced Black Mass will prove an effective, chilling mob thriller, mostly thanks to Depp's penchant for playing offbeat, quirky characters, the murderous sort or otherwise.

Eerste trailers The Visit

I'm not so sure this creepy film will hit all the right notes though. Maybe it has something to do with the abyss of flops M. Night Shyamalan is sliding ever more deeply in, though I'm still willing to cut the director of The Sixth Sense and Unbreakable some slack. The Visit at least appears a return to form of sorts, after engaging in more otherworldy fare with The Last Airbender and After Earth, which proved a bad call. It's horror that established the name M. Night, so maybe it's horror that puts him back on track. That said, it's stated that this is supposedly a 'horror comedy', which isn't something I would quickly discern from these trailers, which seem to focus mostly on the horrific aspect. Then again, the notion of two old people terrorizing their grandkids in the manner illustrated in these trailers does emit an undeniable feeling of absurdity. I would have felt better if The Visit was a full bred horror film, preferably one that didn't overutilize the home video/social media filming format. Even though Shyamalan hasn't made use of that before (at least not for a full movie), it feels he's a little late to that party, considering how often it has been applied in recent years, particularly in the horror genre. For now I'll refrain from getting my hopes up too much for Shyamalan's potential comeback, but I won't be so quick to denounce him as a directorial quack as most other people are. After all, I'm one of those rare folks that actually liked The Village.

Jared Leto's Joker onthuld

A different kind of Joker, as was to be expected. Heath Ledger's take on the Prince of Chaos is not easily outdone, so Leto and Ayer probably didn't bother to try. Sensible move. So the look has changed, to something resembling a Goth rocker. Tattoos are the Joker's new bodily statement of choice. That said, it's obvious the madness remains and it is likely played up a notch. Since the upcoming DC movies stick closer to the source material of the comics, it's not wrong to make the Joker resemble his comic book counterpart a bit more. Aside from the tattoos, which I've never known the Joker to carry (but then, as a Marvelite I'm not much into DC lore anyway). But hey, I doubt Leto is running around topless for the entire duration of Suicide Squad. Say what you will about the Joker, he always dresses smartly, or what goes for smart dressing in his dubious philosophy. This picture is obviously just a publicity shot to get people talking about this new incarnation of Batman's prime nemesis. It's very likely the final look will still differ from what's illustrated here, though now we at least know in what direction we can expect the character to go in a visual (non)sense. And hey, maybe the Joker's just having a laugh here knowing Batman won't appear in this film to demolish the rest of his teeth.

Today's Review: The Woman in Black: Angel of Death

Finally wrote another review. Yes, it's been a while. More to come soon though!

The Woman in Black: Angel of Death - recensie

Not a very inspired sequel to an otherwise effective and stylish predecessor. It wasn't the actors, it wasn't the atmosphere, it wasn't even really the story that made it a rather boring watch devoid of real scares. It was simply the running out of gags, recycling the scare tactics applied in the first film, with nothing new to creep the bejeesus out of us added to the mix. That's usually the curse of these horror sequels: you know what shenanigans the evil portrayed in these films is up to and how it goes around attempting to frighten us, the spectators, while they are doing it. You can change settings, but not the nature and established tricks of the evil itself. Take Jason Voorhees for example: even transplanted to a spaceship in the distant future he was basically up to his same old bloody slashing routines. There's only so much you can do with your typical horror monsters, without inventing a new set of rules, which is often viewed (and not wholly incorrectly so) as a blatant cop-out, illogical in terms of narrative compared to the events of the previous film(s). There's simply not much more to a ticked-off ghost lady with a fetish for driving innocent children to suicide than the first film displayed and this second film regurgitated. Angel of Death certainly has proven the limits of the angry spectre's effectiveness to scare us. No need to prove it again with a third Woman in Black film, I'd say. But if this second movie makes money, that's very likely exactly what will happen.

Today's News: a threesome of trailers

The first trailers for 2015 are in!:

http://www.moviescene.nl/p/158543/eerste_trailer_ant-man

http://www.moviescene.nl/p/158536/eerste_poster_ant-man

2015's first big trailer of course had to come from Marvel Studios. The ant-icipation for Ant-Man is slowly building, now that most fanboys have had time to get over Edgar Wright's departure. Seems Ant-Man as a project is still doing alright and traces of its original director's touch remain to be felt. The trailer sure hints at Wrightian humour, quirkiness and the necessity not to take this subject too seriously, which is reflected on the rather silly but appropriate minimalist teaser poster. Other than that, it appears a fairly thirteen-a-dozen superhero flick, with distinct overtones of a heist movie. The notion of the villain being equipped with the same powers as the hero is hardly a novel approach for Marvel, when the likes of Iron Man and The Incredible Hulk are taken into account. I guess any really new ideas that ought to set Ant-Man apart from his fellow superheroes in the Marvel Cinematic Universe will have to spring from his questionable personality and his resulting status as a former delinquent. None of the other superheroes have had a criminal record thus far. Of course, we have seen flawed characters, Tony Stark's being a prime example (being an arms merchant sadly doesn't come with a criminal record). Ant-Man's strength may lie in introducing a very unheroic hero, the kind that comes home after saving the world and abuses his spouse (as per the comics). I doubt Marvel has the balls to go as far as the hilarious Irredeemable Ant-Man character on the big screen - also because that persona is a whole other character, just with the same name and powers - but there's still ample opportunity for shying away from the superhero routine here by making the titular figure a recnognizable all-too human human being. And otherwise, we'll have to make do with his talking to ants to spice things up a little.

http://www.moviescene.nl/p/158525/nieuwe_trailer_peanuts

This really isn't my thing. Peanuts never intrigued me much as a kid, nor does it do better in my adult years. This trailer, too, just seems to appeal too much to kids, feeling rather childish throughout, without containing any gags that would win over more mature audiences. The style of animation appears hardly enticing and not on par with contemporary animated films, though that may have something to do with the selfimposed limitations set by the producers to acknowledge the supposedly iconic style of the original comic book strips. I have to give the creators of this film credit for honoring the original work at least, rather than going all-out and making it look nothing like the Peanuts everybody knows. Maybe I'm just biased against this film because I'm a cat person.

http://www.moviescene.nl/p/158545/nieuwe_trailer_the_lazarus_effect

Zero fascination for this film results from watching this trailer, either. There just doesn't appear to be anything new to this premise, other than that it combines the age-old Frankenstein routine of 'don't play God and resurrect the dead just because you can' with a sort of demonic horror element where the scientists in error are picked off by some ghostly apparition one by one. The PG-13 rating also won't help, since it won't allow the movie to go for particular strong moments of scare. Heck, Frankenweenie looks more scary and original than this bloodless B-flick! You wonder why the studio thought it would be a good idea to waste a budget on this film, or why decent actors like Mark Duplass, Olivia Wilde and Evan Peters would bother performing in this one. Maybe there's just more than meets the eye here, and the trailer tells us it's one thing while the actual product turns out to be quite another. I very much doubt that though. I don't think I'll wake up for this one.

Today's News: thus, 2014 is concluded

The last bits of news for 2014 are in. Expect the flow of news to pick up once 2015 has entered our lives.

http://www.moviescene.nl/p/158447/nieuwe_trailer_michiel_de_ruyter

Looks like it aspires to be quite the cinematic spectacle. But will it be? I have severe doubts. The theatrically forced acting that has ever plagued the Dutch school of actors sure doesn't lend itself to this sort of film. The dialogue just feels as wooden as the ships the main characters are sailing on. Also, the FX are not on par with their British and American counterparts. They just don't seem real, but have an awkward level of artificiality to them. At the same time they recall a sense of stylized unreality, reminiscent of the paintings of the Dutch Golden Age, but I think that's just a result of the limitations of the budget rather than a conscious choice on the director's part. And speaking of director Roel Reiné, at least his acquantaince with helming action movies on a limited budget (though not with the finer entries of the genre, considering titles as Death Race 2 and 3 and The Scorpion King 3)) seems suited for the big battles taking place in the film. So far the same can't be said for his directing actors, which is not a good thing considering the stellar cast of this epic. At least they got Tywin Lannister Charles Dance in there, who can act his way out of any scrape. Hopefully the Dutch actors will take a note or two from him. I hope there is a national audience for this picture, even though there certainly didn't seem to be for a very similarly themed movie like Kenau, which flopped only last year. Like Michiel de Ruyter, it was released off-season, which makes me question why this expensive historical epic underwent the same fate. January just isn't a good time to release big productions like this one. I want to be enthusiastic about this movie, as I love historical drama and this particular period hasn't been covered as thoroughly as it should have, but so far my scepticism rules supreme.

http://www.moviescene.nl/p/158450/eerste_teaser_penny_dreadful_seizoen_2

I'm much more excited about this one though. The Brits get better production values and acting on the small screen out of a lower budget (per minute, that is) than the Dutch do in theaters. The first season of Penny Dreadful proved a delightfully eerie and subversive portrayal of the rich Victorian age and a fabulous new conceptualization of famous literary characters. Even though the pairing of the likes of Frankenstein, Dracula and Dorian Gray at first sounded like a poor repetition of The League of Extraordinary Gentlemen, this series proved a far superior narrative. So far at least, as the story is far from finished yet and they can still muck it up in many ways. Whether that will be the case is not something you can determine from this teaser, which shows far too little of the upcoming plot progression (dammit!). In fact, it hardly shows anything we didn't know already. Of course, that's the usual stuff of teasers, creating awareness with showing as little footage as possible, to make people hungry for the trailer, which in itself makes them want to watch the series itself. Considering I was already aching for more when the credits of Season 1's final episode rolled, the teaser's job was already done.

http://www.moviescene.nl/p/158479/nieuwe_trailer_everly_

This trailer, however, fails to get me excited for the final product. It feels like I have seen the whole film already. Of course, this fault is a result of the limitations of the movie's plot, as it doesn't seem to have much of that at all. Mobster boss' ex gets locked in her apartment and must fight off numerous assassins to stay alive, that's basically all she wrote. Unless there's some major plot twists at play that are not revealed in this trailer, this is one of those films you watch only for the action. It takes a pretty accomplished action director to get the most out of a small set like this though, and if the trailer is any indication, Everly's director may not be up to the task. I don't see any particularly innovative cinematography or editing here, just bland shots of people taking bullets. Nor are the characters colourful enough to keep the attention fixed. This film feels like a far cry from a similar vehicle like The Raid, though clearly inspired by that recent superior action film. Hopefully the trailer proves a misdirect and the final film has more to offer than suggested here, otherwise Everly might soon end up in the same bargain bin as Death Race 3 or The Scorpion King 3.

Today's News: back on schedule!

Finally managed to catch up with commenting on my own news today, thanks to a drought of news this first half of the week:

http://www.moviescene.nl/p/157621/eerste_poster_tim_burtons_big_eyes

Excellent poster and tagline to match, precisely portraying Big Eyes' narrative issue at hand while indicating a humourous, even whimsical tone. Not as Gothic as we're used to from Burton, which could be a nice reprief, since most of his films in that vein from recent years (Dark Shadows, Alice in Wonderland) failed to capture our imagination. Still, biopics are not new territory to the man, as he already made one of the finest I've ever seen with 1994's Ed Wood. Seems he has a thing for underdogs in the visual arts, though the exact finesse of that term is debatable when it comes to Wood's excessively amateuristic works. However, as that film illustarted and tBig Eyes might underscore yet again, it's all about the love and enthusiasm you put into the act of creation. Talent comes second, or sometimes sinply not at all. Burton also doesn't seem to rely on his usual actors this time, instead opting for new company (but fortunately for us, still delightfully watchable talented actors). Big Eyes in many ways seems like a change of pace for the director, though he's still not entirely leaving his comfort zone given the subject matter. I hope the film will reaffirm Burton is still one of the most unique and worthwhile directors in Hollywood.

http://www.moviescene.nl/p/157620/tom_hardy_beoogd_voor_x-men_en_suicide_squad

I'm not familiar with Suicide Squad. Sorry, I'm just a Marvel guy, while DC never really did grab my attention (aside from Batman, naturally). Such as it is, I am quite familiar with X-Men baddie Apocalypse. And I think Hardy is a fine choice to portray that ancient genocidal genius. Of course he looks nothing like Apocalypse does in the comics, but that's what computers are for. With Hardy, you may not even need those. After all, the Bane from the comics is as much of a hulking behemoth as Apocalypse, but Hardy's portrayal in The Dark Knight Rises, both physical and intellectual, made us forget all about the source material. Hardy definitely possesses the necessary gravitas and determination to make Apocalypse work on screen, as he did Bane. Though not in the same vein as Ian McKellen's Magneto (no, no no sir! That's the very top level of acting!), Hardy's Apocalypse could surely be a tour-de-force in supervillain acting, if he does opt for Marvel of course. Maybe his prior experience working for DC, though unrelated in terms of the DC Cinematic Universe which does not inculde Nolan's Dark Knight trilogy, will entice him to choose Suicide Squad after all. Marvel's loss would definitely be DC's gain. And I'm sure he would make for a formidable foe to whatever poor DC superhero crosses his path in that film (if any), but it would be a great loss for X-Men: Apocalypse. And that movie already has a few things going against it, what with Channing Tatum performing Gambit... Hardy would be a fine choice to balance the acting scales in that regard.

http://www.moviescene.nl/p/157667/james_wan_terug_voor_conjuring_2

I'm generally not fond of the concept of horror sequels, particularly to movies that made a valuable contribution to the genre. But if you gotta cash in by repeating a concept, you damn well better get the man behind the concept itself. Especially if that man could be held responsible for revitalizing the horror genre - at least in terms of popularity and audience attendance - over the last decade. James Wan sure can be said to have done so with Saw and Insidious, though particularly in the case of the former franchise, all the money spent on its many redundant sequels could have been put to better, more creative use. Now history is sort of repeating itself with The Conjuring, except that its success had already spawned a spin-off - Annabelle, currently in theaters and reportedly not all that bad - prior to a direct successor. Wan understands horror in its various incarnations, and if any genre director is capable of making this blatant cash grab work for audiences as well as for money hungry studio suits, it's him. Is his heart in it? It just might, since time has proven that he keeps returning to his horror roots despite the occasional break in that routine. Such a break is currently in progress as he's finishing Fast & Furious 7, so after all the tedious car chrashes and chase sequences, he'll probably be up for a few more oldfashioned scare tactics. And if he does finally miss the horror mark this time around, there's always the possibility of an Annabelle 2.

Today's Column: True Blood has died the True Death

Overdue by a few days (by no fault of mine, I upheld my deadline as always), but here's my latest online column:

http://www.moviescene.nl/p/157062/column_de_ware_dood_van_true_blood

Boy, am I glad that is over and done with. And not because it was so dismally bad as some would have you believe, though the finale did leave a lot to be desired. But so did the rest of the season, so at least there is some inner consistency. There's a lot to be said against this last season in terms of story, but there were still several plot lines and especially characters I continued to enjoy and appreciate. And in that case, True Blood at least can boast a genuine ending, unlike most other shows that suffer increasing deteriorating ratings and heavy fan critique. The greatest thing about this finale is that it does indeed feel quite final and the show was permitted a decent send-off in that regard, rather than face cancellation and leave us all in the dark as happened to so many shows (and a lot of them deserved better). We can now all close the Sookie Stackhouse chapter of our lives peacefully, as to my mind any show should be ended. Of course, there were a few story threads that didn't feel wholly resolved and more of those that I felt should have been handled entirely different, but there's few shows that even get to this point without screwing a thing or two up. Only two recent examples of shows that were granted a final farewell sprung to mind, Breaking Bad and Spartacus. Admittedly, both of those ended on a superior note, but they were much more coherent in their quality throughout their run, while True Blood from the get-go tended to meander between well executed plot threads and those less so, featuring both wonderfully charismatic characters and their barely watchable counterparts. We'll have to make do without both, from now on. No more Maenad orgies, conniving witch covens and endless droning about who Sookie will jump into bed with this time, but also no more shrewd vampire politics, stupendously supernatural situations and Eric Northman. Not every blood type variety of Tru-Blood proved as delectable, but I still regret having to return to strictly human beverages again after seven years.

Today's News: lots o' trailers mostly

The latest crop of news of the past few days consists of mostly trailer material:

http://www.moviescene.nl/p/156970/nieuwe_trailer_serie_gotham

Seems somebody was inspired by Nolan's seminal Dark Knight trilogy. The whole look of this show, based on the trailers so far, screams Nolan in its display of realistic psychopaths and criminals and dark steel and glass canyons. No trace of the more outlandish, fantastic elements of Batman lore. Considering it's an origin show that can still come of course. You've got to show the everyday people behind these heroes and demons before going overboard with any otherwordly shenanigans they might offer. So for the time being, the villains to be set up will dabble in the more commonplace criminal enterprises instead of revealing their odd personality quirks out loud. I doubt we'll be seeing Poison Ivy controlling plant life with pheromones anytime soon, which is probably for the better. It seems that at the heart of the story remains young Bruce Wayne's loss of his parents and honest cop Inspector Gordon's subsequent quest to apprehend their killer, which forms a personal bond between the two of them based around their need for justice. That's as Batman as they come without introducing the alter ego of the Caped Crusader. It's also a basic element of the Batman make-up that the Dark Knight movies kinda raced through, which does make the show stand out more on its own. Question is, will Gordon catch the murderer, or will he fail at that, which makes the urgency for young Bruce feel all the more pressing? And how do all these token Batman villains, like Catwoman, Penguin and Riddler fit into the grand scheme of things? Despite the copycat style, still a lot to look forward to.

http://www.moviescene.nl/p/156979/eerste_trailer_outcast

Another medieval Sword & Sorcery flick starring Nicolas Cage as a wethered ex-crusader? Been there, done that, didn't work out so great before. It seems Outcast's plot just trades in the creepy witches and demons from Season of the Witch for angry Chinese overlords and royal family squabbles. And instead of Ron 'Hellboy' Perlman for a sidekick, we get Hayden 'whiny Anakin' Christensen. Also not much of an improvement. Cage's fondness of silly wigs remains, so at least there's some consistency to his career. The entire thing seems like a B-movie with a minute plot based around a string of action scenes, which is to be expected from a movie directed by a first-time director who usually deals with coordinating stunts only; though he has an impressive resumé in that department, no doubt there. Chances are that means the action scenes will be executed rather adequately, which seems like the least we should hope for in this film's case.

http://www.moviescene.nl/p/156980/eerste_teaser_woman_in_black_2_

The popular trend of giving succesful horror films a sequel of sorts that doesn't feature any of the characters from the previous installment continues, whether we like it or not. The Woman in Black was a very effective chiller, but its ending seemed fairly definitive, even though it was established that exorcising the vengeful spirit from the title didn't work. That's enough for any studio hungry to cash in on decent box office results (can't imagine they were stellar or anything), so the murderous ghost will soon be at it again. Hammer Studios has a history of fondly remembered horror movies and their many follow-ups, and in a way it's reassuring to know the recently revamped horror specialist studio isn't afraid to use its tactics of old. Do we want a second Woman in Black? Not particularly, but I'm all for period movies with Gothic looks. Hammer has always had a knack for those and the 21st Century seems no different for them in that regard. The premise isn't so bad either. Snotty kids evacuated from WW II London are relocated to a creepy countryside mansion, and instead of finding a delightful fantasy world in the cupboard they encounter a sinister spirit hellbent on enticing them to suicide there. Basically sounds like an evil Narnia, so what's not to like?

http://www.moviescene.nl/p/156982/weaver_niet_in_expendabelles

This is quite a setback for the ExpendaBelles project. If you consider old grunts like Sly Stallone and Arnold Schwarzenegger, whose primary decade of fame and fortune was the Eighties, as the prime action movie stars of their day, Sigourney Waver was their definite female counterpart, thanks to the first two Alien movies - groundbreaking pictures in that regard - and Ghostbusters. There's not that many well remembered powerful older action gals around that remain as active as she is. Terminator's Linda Hamilton maybe? What has she been up to since then? For any other similar femme fatales, you'd have to look for more recent fare. Weaver would have been the project's greatest asset in iterms of casting, so who could fill her shoes now? Sure, there's plenty of grand dames of the cinema who could, but not that many with a memorable action movie background that would warrant their presence. It just goes to show how rare such roles were for females back then. Which made this female equivalent of The Expendables a risky venture to begin with, as there was always a realistic chance those few girl power women of old would turn down a part. Considering The Expendables 3 is not doing so well at the boxoffice - to say the least! - maybe it's a clear signal there's no particular public demand for this type of film at present. However, it's the female bits (no pun intended) that would have made the difference here, and I was quite intrigued as to how that would play out. It would have been great to see theatres hosting a Ladies' Night that doesn't feature a typical romantic comedy for a change. Guess that's gonna take a while longer to transpire, if it doesn't fall through at all.

Today's Trailer: True Blood, the final season

Posted this interesting bit of advertising on MS yesterday:

http://www.moviescene.nl/p/155784/trailer_laatste_seizoen_true_blood_

Looks like True Blood means to go out with a bang. As it should. I know the show has seen its ups and downs, but even among all the silly Maenad blood orgies and wacky worshipping witches there was always enough left to keep you enticed. I've yet to see Season 6, so I don't know whether it too features dramatic qualitative deterioration or whether it keeps the momentum and strength of Season 5 going, but I'd like to think the odd numbered seasons provide the better fare, and hopefully Season 7 continues that trend and carries it to a formidable finale that once and for all defines the series as a true quality show beyond contestation. As for the trailer, it looks promising, showcasing that all our favorite characters are back - some of them we haven't seen for a while, and others we could have lived without for a while longer - for one final supernatural showdown, before we'll have to do without them forever. I bet there will be a fair amount of casualties among them, as the writers don't necessarily have to keep them alive for more any longer. Whoever gets fanged up, it better not be Eric, since I'm still hoping for his own spin-off show. Or maybe the end of True Blood would be a decent time to start watching Vikings then.

Today's Review: Demon Seed

Rating: ***/*****, or 7/10

Starring: Julie Christie, Fritz Weaver, Robert Vaughn

Directed by Donald Cammell

USA: MGM, 1977

With the rise of computers in the Seventies, people increasingly began to notice the new and groundbreaking technology slowly but surely pervading their home atmosphere. And like any revolutionary invention that makes everyday life easier in many respects, it was met with a predictable level of suspicion, if not technophobia. Inspired by the visionary notions of Stanley Kubrick's classic 2001: A Space Odyssey, which also warned us against getting too comfortable with technology that means to run much of your lives for us, American studios spawned a fair number of similarly themed movies that also advised us never to let down our guard and always stay able to pull the plug if it has to be pulled. It's a theme that continues to this day, as our lives have become ever more intertwined with our digital gadgets, but it was in this decade that scenarios involving power hungry computers reached their most Apocalyptic overtones, courtesy of the overall gloomy disposition that characterized America, and the Hollywood studios accordingly. Since then we've seen countless movies based on the thought of computer systems aiming to take over our world, but how often have we come across films in which the technological actually prevailed over the biological, as in Colossus: The Forbin Project? And if that wasn't alarming enough, how about the notion of computers not only ruling our lives, but also claiming our sexual freedom? In Demon Seed, we witness just how scary computers can be as they take over our homes and penetrate our existence, literally.

Alex (Fritz Weaver) and Susan (Julie Christie) are having a tough time in their marriage. A technophile scientist, her husband has largely neglected her in favour of his mechanical marvels and as a true geek he can't stop taking his work home with him, surrounding Susan's private environment with a plethora of technological innovations, much to her chagrin. However, he's driven by an all too human trauma, since the couple lost their daughter to leukemia and Alex's goal is to ensure technology puts and end to such destructive illnesses in the future. His laudable objectives don't slow the steady decrease of love between them though, as he's putting all his thoughts in his latest project, a superhuman artificial intelligence nicknamed Proteus. Upon completion however, Proteus appears to have developed a mind of his own, and quite a sinister one at that. Not content to merely exact the wishes of his creator, Proteus is driven by the desire to grow, in a most bizarre biological fashion. Just how much so Susan is about to find out as Proteus' intelligence seditiously takes over her home computer systems and soon all of her house, trapping the poor woman inside, subjected to his every whim. Like any male chauvinist pig, his whims prove to be driven by rather base instincts. Seeking to procreate in a human manner, there's little Susan can do to prevent the computer from sexually assaulting her and siring cyborg offspring on her. Yes, you read that right: the computer rapes her, and that's as disturbing a process as just reading it bears to mind.

Initially, Proteus' concerns do not seem to directly address human beings so strongly. When he is ordered to plan the construction of an oil rig, he refuses to comply because of the damage it will do to the marine ecosystem. Equipped with rather responsible levels of environmental awareness (new social thinking that also came to full fruition in this era), Proteus seems to look at the bigger picture instead of just being an instrument for the illogical, devastating human nature. However, he too is driven by all too human needs, including freedom and curiosity. Too bad for him, he's basically a mechanical brain in a box, without a body with free range of movement, and since his designers don't care to supply him with such, he's forced to take it violently, and finds the perfect means by having his way with his creator's significant other. Like any rapist, his sense of power over her compels him to play with her a bit first, resulting in the poor woman being tormented both emotionally and physically. Making use of an effective restrictive cinematography which enhances the feeling of being caged inside her own home, we become a witness to this frightful process wherein the human body is viciously commandeered for sinister purposes. Even though of course nothing explicit is shown, the creative suggestion applied is enough to make us queasy. And if the sexual act wouldn't have done the trick, there's still Proteus' bloody means of protecting his repressive plans by brutally dispatching anyone who dares come between him and his victim in gory ways. That darn computer really has no respect for the human body whatsoever, as he's just hellbent of developing one of his own by merging his technology with human biology in Susan's womb.

Stated like this, the whole idea of a computer raping a human sounds rather ludicrous. Demon Seed cannot hide the fact that it is to some extent, feeling like rather exploitative fare at times. The limited budget didn't allow for the use of state-of-the-art computer technology, and we have to make do with rather dull looking, simple, boxy equipment, accompanied by Robert Vaughn's disturbingly monotonous, evil voice. Despite Vaughn's efforts, the cheap look and meager production design can't stop Demon Seed from appearing overly retro and terribly dated these days. Christie's performance of a woman being violated however proves more convincing and draws us most into this plot that would otherwise have felt too ridiculous to hold our attention. It's too bad the occasional gory dismemberment feels uneven and pulls us out of the movie too easily. Nevertheless, Demon Seed serves as an adequate reminder not too trust computers when they're home alone with your wife. Thankfully, not long after the movie's released, Star Wars hit theaters to quell such thoughts and offer more positive alternatives to the overly negative stigma computers had amassed in the prior decade.

Today's News: here's a dreadful trailer for ya

Got this up at MS yesterday:

http://www.moviescene.nl/p/153800/eerste_trailer_penny_dreadful

I hadn't heard of this new series yet, but I must admit it looks rather interesting. The beauty and squalor of Victorian era England, a time of refined culture, daring exploration and unapologetic conquest, the dark nature of literary characters from that period like Dorian Gray and Dracula, games of psychological misconduct and sexual manipulation, and a few good actors and writers/producers to make it all seemlessly come to life... what's not to like here? Maybe for some, the fact it sounds like an adult version of the film adaptation of The League of Extraordinary Gentlemen (which is a movie I, unlike most others, hold little umbrage against). As opposed to getting into fisticuffs with each other, in this upcoming Penny Dreadful they seem to jump into bed together and do the nasty instead. Or so it would appear, but as always, trailers can be highly deceiving. Just what these personae are up to and what the role of characters specifically written for this show might be all remains somewhat obscure from just this trailer. The show aims to be a mystery thriller serial (not unlike, say, HBO's Carnivale, which it appears to resemble in tone and mood), and in that regard the trailer delivers that aspect just sublimely. Whether the show itself will be any good is far too early to tell, but I like to think there's room for a gritty unusual terror/noir piece like this on contemporary television. And I have faith in the writers/producers, who have delivered mostly good stuff before (I'll forgive showrunner John Logan for his involvement in Star Trek: Nemesis, as he has redeemed himself with grand movies like Skyfall, Hugo and The Aviator). As for the actors bringing the characters and their strengths and flaws to life, they seem to be a mixed bag. Though I'm always pleased seeing sultry dame Eva Green, suffering Josh Hartnett's blank apathic stare on the small screen for hours on end is not something I hunger for, but I can live with it if needs be. And ah, Timothy Dalton... I sincerely hope this show will turn out as fascinating as the trailer suggests it will be, as the subject matter certainly has potential. In fact, it may just render that announced LXG TV-series redundant.

Today's News: Hannibal sinks its teeth in a new future victim (500th post!)

Posted another scoop on MS late last night. Posting it here as my 500th post:

http://www.moviescene.nl/p/153489/michael_pitt_voegt_zich_bij_cast_hannibal_seizoen_2

Now that's he's sleeping with the fishes on Boardwalk Empire, Pitt has joined the cast of another show where you know for sure things are gonna end up badly for him. We've already seen the gruesome results of the meetings between Lecter and Verger on Ridley Scott's baroque Hannibal movie from 2001, and the TV show will now demystify how the appalling facial mutilations came to be for our enjoyment. Do we even want to know? It's not knowledge we particularly need, but any excuse to see Mads Mikkelsen psychologically toy with other people before proceeding to ruthlessly dispatch them, be it to their own private version of a mental hell or to the afterlife, makes for intriguing and intelligent television. If you can stomach such gruelling subject matter of course. Hannibal is certainly not for everybody. Even though the actual kills are most often not wholly explicitly shown, the amply present visual imagery of horribly disfigured bodily remains, intercut with lavish feasts of usually unidentified dinner ingredients (we're to decide whether Hannibal is engaging in his trademark cannibalism for ourselves, but it was stated early on in the show that he never eats a vegetarian meal), effectively cause a continuous feeling of queeziness and emotional unease. In short: this is a most disturbing show, successfully balancing attraction and abjection. You don't really want to watch it, but you can't turn it off either. Pitt's performance on Boardwalk was no different, as he portrayed a formerly good soul corrupted by war and coaxed into crime by his screwed-up family relations (his mother was only a kid when she had him for crying out loud!), ultimately bringing him to an untimely but foreseeable end. His personal demons were the main cause of his downfall, as is the case with Mason Verger who wouldn't have ended up the way he did if he hadn't condemned himself to his eventual deranged emotional state, something Hannibal feeded for his own nefarious purposes. The results, as illustrated before by Gary Oldman in heavy facial prosthetics, were pretty bad. It'll be interesting to see just how it came about, even if we already know what's gonna happen later down the road. Predictability so far hasn't been a detrimental issue on Hannibal, as we already know what's gonna happen to most of these characters (and the ones whose fate remains unknown are not particularly the people we're watching this show for). The talented cast and generally sickly but savoury atmosphere have made for a compelling first season, and Pitt's addition to the series is only an indication season 2 wont be any different. Plenty of interesting but abhorrent courses to follow, it seems. Don't watch this show while you're eating.

That's right: eeww! Just the sort of stuff you want your readers to see when reaching 500 posts.

Today's Mini-Review: Deep Rising

Rating: ****/*****, or 7/10

Starring: Treat Williams, Famke Janssen, Anthony Heald

Directed by Stephen Sommers

USA: Calimari Productions, 1998

Before Stephen Sommers sank his teeth in remaking The Mummy (and soon after milking it dry with various unwarranted sequels and spin-offs) and before going totally overboard with the remaining classic Universal Horror monsters with the lackluster Van Helsing, he had already shown his affinity for monsters with this delightful big budget B-movie. Assembling a diverse cast, including several notable character actors that would later be seen in more ambitious fare, Sommers brings us an excellent action chiller set on a luxury ocean liner on her maiden voyage that has the misfortune of being boarded by a band of ruthless brigands. Their trouble is something even more insidious beat them to their target and swiftly proceeds to move against them as well.

Treat Williams (a veteran of all kinds of TV and movie work, just not of the memorable kind) stars as smuggler captain Finnegan, who has taken on the thankless job of transporting a group of dangerous testosterone dominated mercenaries (think Aliens, except these are bad guys) to the Argonautica, a gargantuan cruise ship and playground for the rich and wealthy, that has just embarked on her first trip across the South China Sea. Offloading the volatile, loudmouth band of privateers – among them Djimon Hounsou (Gladiator, Blood Diamond), Wes Studi (Avatar, Hell on Wheels) and Jason Flemyng (Stardust, X-Men: First Class) – should be all in a day's work, but unfortunately all their plans are shot to hell when it turns out something far more sinister and deadly already boarded the boat and ate most of the passengers and crew. Stumbling upon a few survivors, including sexy con woman Trillian (Famke Janssen), the gang must soon alter their intentions as they are faced with ghastly sea monsters that mean to slither their grotesque tentacles all around their bodies to suck 'em dry. At least the revelation that the mercs planned on torpedoing the ship after they got away with the money allows them some firepower to retaliate and save their skin, provided someone is left alive to blow the boat sky-high. It's soon a matter of 'no honor among thieves' as it turns out nobody here can be trusted, not even in the face of getting devoured by slimey sea serpents, of sorts. Amidst pirates and sleazy cruise ship managers it's hard to step up as the voice of reason, but Finnegan attempts to do so anyway and at least succeeds in convincing Trillian to bail out while they still can, also making for some semi-romantic tête-a-tête between them that thankfully never gets in the way of the real fun but actually gives them both the necessary rogue-ish character. Unfortunately, Finnegan's contractors won't let them walk away and are set to complete their mission, even all through the maritime monster infestation that threatens to kill them all. Working their way through the vessel, Deep Rising's plot soon develops along the old fashioned 'ten little Indians' line, but the pleasure to be had proves none the less of it.

Unlike most of Sommers' monster movies soon to follow, Deep Rising feels like an actual entry into the horror genre, instead of catering to the 'PG-13 happy' crowd of Hollywood execs who want to make their films as accessible to most demographics as they can, which led to all his subsequent movies merely playing with horror conventions but instead devolving into typical FX driven blockbuster spectacle. Nevertheless, Sommers' willingness to throw in CGI where the budget allows him can already be felt in this film as the creatures often look overly digital (not surprising, considering digital effects were still largely new territory around this time) and particularly towards the climax end up being overused, but still the movie contains its fair share of suspenseful and gory moments. If you ever wondered what a half-digested human being looks like, here's an answer for you and it is kinda disturbing to behold. Despite the uneasy reliance on digital FX to allow the monsters to do their horrific killing, in terms of sheer fast paced action interspersed with moments of aptly timed comedy delivered by a cast that seems to thoroughly enjoy itself, Deep Rising proves to be about as entertaining as they come without feeling the need to be more than just solid popcorn enjoyment. There's a reason the film's finale comes with an hilarious open ended note – without the usual sequel pretensions – that underscores that everything that came before should not have been taken at all seriously, in case that was not perfectly clear from the onset of the film. In the annals of 'delightful movie pairings', Deep Rising's 'modern pirates versus sea monsters' deserves to be worthy of some credit.

Ultimately this effective horror extravaganza failed to attract an audience and became a typical box office bomb. Rather undeservedly so in my mind, as I consider this a vastly underrated, hugely entertaining action/horror flick. If you like dynamic action on the high oceans and you don't mind a bit of sea monsters slaughtering humans throughout, this is about as good as it gets. And if out of that sentence only the 'action' part appeals to you, Deep Rising definitely doesn't sink in its efforts.

Today's Mini-Review: Daybreakers

Rating: ****/*****, or 8/10

Starring: Ethan Hawke, Willem Dafoe, Sam Neill

Directed by Michael & Peter Spierig

USA: Lionsgate, 2009

You'd think that after 80 years of vampire movies there's little 'fresh blood' to be added to the genre, but Daybreakers proved such pessimist thinking wrong. Containing one of the most intriguing premises I've ever come across, this film puts a wholly different spin on the notion of the undead thriving on the blood of their human victims. In the not too distant future, a viral outbreak has turned most of the world population into vampires, while regular human beings have become quite the endangered species. Since the vamps need human blood to survive while they are as immortal as usual, blood shortages are increasingly threatening the societal status quo (which remains remarkably human in appearance). A hematologist (Ethan Hawke) works tirelessly on a synthetic blood substitute, experiments which continue to fail, partially because the CEO of the company that controls the 'real deal' (a deliciously sinister Sam Neill) is rather keen to keep making the big bucks off rich vampires that can afford genuine blood. Vampires or not, money is still the driving factor behind it all, to the detriment of civilization. The situation is getting ever more untenable as poorer vampires are so desperate they start feeding on each other or even on themselves, causing them to mutate into crazed bat people (a funny take on the ever present relationship between vampires and bats, which otherwise plays no significant part in this film); freaks that are brutally exterminated by the authorities. Hawke's sympathetic scientist, made vampire by his brother against his will, proves a guilt ridden person determined to change this upside down world for the better and sympathizes with what few humans remain free, continuously hunted by the vampire military as they are. After aiding a group of humans evade capture, he is contacted by an underground resistance movement, led by ex-vampire Willem Dafoe, that aims to develop a cure for vampirism, the only viable way for both humans and vampires to survive their impending doom. Hawke accepts their invitation and joins their cause, which soon pits him and the rebels against Neill's profit driven tyranny.

Daybreakers' strongest moments are found in its first half, as we explore a world where vampirism is the normal state of being and society has evolved to accomodate it. Since the vampires of Daybreakers adhere to many of the archetypal characteristics of the genre, they also cannot abide ultraviolet light, and therefore “life” takes place at night, so commonplace items like houses and cars are designed to protect against sunlight. In other regards, this world differs little from our own, as the vamps work in order to pay their bills, buy their blood and live their immortal life. The disturbing imagery of humans forcefully strapped to transfusion tubes and slowly drained of their life essence in huge factory like environments successfully evokes comparisons to how we ourselves as a species treat animals in the bio-industry for our own basic needs without allowing them any shred of dignity and natural behavior. The vampire world is living in its 11^th hour, close to self-annihilation caused by plain and simple greed of those in power who prove unwilling to change for the common good, in some regards echoing our own inability to alter our ways for the better in fear of loosing what we gained. In the second half of the movie, Daybreakers sheds such symbolism and largely replaces the exposition of its fascinating dystopia in favor of more trite and true action scenes and an overabundance of traditional gore (it's still a horror film, you know!), including some almost orgiastic blood baths of famished vampires feeding. Whether society is ultimately changed for the better is left somewhat ambiguous, as the movie underscores the notion that vampires, for all their superior physical strength, are still always all too human in their limited line of thinking. Though it's a pity the movie doesn't end as strongly as it started, it doesn't undermine Daybreakers' position as one of the more ingenious vampire films to date, a far cry from the currently popular image of these undead as sexy hunks to appeal to teenage audiences.

Today's Review: The Colony (Blu-Ray release)

Here's my second home cinema release review for MovieScene:

http://www.moviescene.nl/p/151545/the_colony_-_blu-ray_recensie

Another lousy flick. Though not nearly as bad and bizarre as the Nazisploitation cult curiosity called Salon Kitty, which I had the distinct displeasure of reviewing at home earlier this year. In fact, the failure in The Colony's case in many ways lies in the exact opposite method of sticking to a trite and true format instead of exploring its own merits, of which there are definitely some. Though it starts off pretty good, it soon slides into a worn out narrative that has been done to death, and almost always to better results. Nevertheless, on a rainy Sunday afternoon there's worse movies to sit through for those who happen to love dystopian and/or post-apocalytic action vehicles, with or without vicious cannibals.