RaoulGonzo Reviews

The Hole (2009)

Family friendly horror that works... for the most part!

[6/10 · 26 February 2018]

Finding a seemingly infinite hole in the basement of their new home. Two brothers and the girl next door soon find their fears start coming to life. Not a particularly original concept, playing with fears either conscious or not but always a good opportunity for some inventive scares. I believe this was Joe Dante's 'comeback' after a few years in a directing Haitus. At the time I remember being interested, along with John Carpenters 'the ward' which was his first feature in a decade. The Ward I watched with unspectacular results.

The hole doesn't make a promising start as we are introduced to the two stiff lead brothers, they crawl into their role eventually but are largely unemotive (is that a word?). It's the introduction early on to Haley Bennet who plays the girl next door that really lights up the film. She is the star, and does an amazing job with some of the more drub dialog. She is the key for making the relationships believable. Bruce Dern gets five minutes to chew the scenery, which is an added bonus.

The hole (in 3D, which I forget about and counts for some of the bad visuals) gets straight on with the horror, the horror is family friendly and really does play to its target audience. Age old fears are played with - toy clowns, what's under the bed etc. Nothing new for anyone with even a vague knowledge of the genre. There are effective scares here as Dante plays with an unnerving tone, there is an over reliance on score but it doesn't bother too much.

There are some outrages character decisions as the tale becomes more fantasy than horror. You really just have to skip over that. In the end The Hole is an entertaining teen horror, the fast pace is ideal to cover plot holes and it's never dull if all a little predictable.

Mute (II) (2018)

One of the biggest dissapointments of the year so far!

[4/10 · 26 February 2018]

This was one of the most highly anticipated movies of the year for me, after the excellent moon and the underrated source code - Duncan Jones was one to look out for (never seen Warcraft but will get round to it). Mute from the blade runner dystopic nature and the synopsis of a futuristic Berlin involving talented actors, and director by one as talented as Jones. What could go wrong.

Mute unfortunately is a mess, it's a bold mess with one untouched vision. That vision however seems as confused as it is vapid. There are major plot points that are obviously meant to have an impact that just kind of float in an ether of emptiness. A big problem for that disaffectionate tone is the lead Alexender Skaarsgaard who has the physique but not much else - one of the least interesting hero/anti heroes in a long time. Another bad thing would be the score, a melodramatic theme that runs way too often. One of the worst Clint mansell scores to date. I think a bad score for a film like this is unforgivable, also the sound editing was all off - maybe in a cinema it would have been better but in key scenes it just detracts from an already struggling storyline.

It basks in trivial plot points while neglecting a bigger picture and potential commentary. After one viewing I feel (like the main character) it doesn't have much to say at all. I did like the set design it really does look smart and the last 20 minutes were ok but it was all a little too late. An indulgence project of disappointment, I keep saying Netflix are doing the right thing by letting creative freedom rule but even the better directors are failing to make their original projects appealing. Next up it's Martin Scorsese's "the Irishman" which hopefully bucks a trend.

New Nightmare (1994)

Wes Craven does it again!

[8/10 · 25 February 2018]

Wes craven does post modernism before it was cool, this 2 years before he revitilised the horror genre again with "Scream". The horror movie becomes reality as Freddy Krueger (Newly suited and booted, with a harsher glint in his eye, harsher than any of the sequels had) has been chosen by a demonic entity as a portal to the real world.

"The only way to stop Freddy is to make another movie." proclaims Wes Craven, as Wes Craven. It seems to be an interesting take on what the effects are on watching horror and even working in horror. Nearly everyone plays themselves, and there are a lot of tidbits and insider jokes for serious horror fans. You look at each set and there is immense detail to be found, the colour pattern of Wes Cravens office for example and what's on the shelves. The writing is extremely sharp, Wes craven has written and directed "New Nightmare", a film about him writing and directing "New Nightmare" and made it great. A highly original concept that he gets right.

I watched this a few years ago and while enjoying it, i was baffled by what it all meant. After watching the whole franchise, and to be frank many more horrors, Wes Cravens New Nightmare was a joy on a number of levels.

A Nightmare on Elm Street 3: Dream Warriors (1987)

A worthy sequel to a truly original masterpiece!

[7/10 · 25 February 2018]

From the opening moments this feels like the true sequel - the shots of kids playing with skipping ropes, singing the Freddy theme tune - already there is more atmosphere in the first 5 minutes of Dream Warriors. Heather Langenkamp is back even though she is miscast as the youngest psychiatrist on earth, it feels like we are in a good place it's sheer relief limited acting abilities or not; the identity in the series is found once again.

The dreams sequences are utilized to full effect again, the death scenes are inventive (The head through the TV screen a favorite) and that's thanks to the great effects. Angelo Badalamenti is on board as composer and as thus the score is infinetly better than the previous two outings.

Dream Warriors provides some fleshed out background to Freddy Krueger and it's as nasty as it should be, Krueger wasn't yet a pun machine but still he produced a couple of zingers here, To Zsa Zsa Gabor on TV as she dribbles on - "Who gives a fuck what you think?" a highlight. The finale as cheesy as some of it is, is really fun - it loses its tone of fear in the last 3rd unfortunately. What keeps this from being better is the casting of Craig Wasson who really is as dull as they come.

All in all it's a good return and a worthy sequel.

Blade Runner 2049 (2017)

A sequel we deserve.

[10/10 · 13 October 2017]

Feeling a deep sense of awe in almost every frame of blade runner 2049. I would like to think, that this is how audiences felt back in 1982 looking at these spectacular visuals for the first time (I seen the original blade runner in the cinema a couple of years back and I felt it even then).

The sequel blade runner deserves it continues with the massive themes, about our existence and such. While taking it on a new path, influences are in there from different sources but this feels like it's own film. It also feels unique despite numerous attempts at sci-fi world building this decade alone.  It takes its time and thank god for that. You really get a sense this was the film, the creators were wanting. A bold blockbuster in an age where fast paced/quick cut edits are all you see in big budget blockbusters.  Blade runner 2049 was a delight.

It Comes at Night (2017)

Mismarketed but a great cerebral horror!

[8/10 · 13 July 2017]

This is a terrifically made atmospheric horror that racks up the tension. The first half hour or so was a claustrophobic paranoid induced nightmare of atmosphere. The camera never stood still, the music was continuous and spine tinglingly good. I was thinking at this point that we had a masterpiece of the genre on our hands, hoping upon all hope the film could keep it up. The second half goes for an even more languid change of pace (that stops in time before it becomes laborious), and turns into a physiological drama that is emotionally driven that always keeps the fear in your mind, reminding us that what goes unseen is scarier than what is shown.

The least said about the plot the better, although everything in the film is left a bit ambiguous it does not feed you explanations and at times here you wish you had a little bit but it's up to you for conclusions.

It comes at night has certainly been mismarketed and will undoubtedly hurt audience reactions. If you come to this looking for the next conjuring you'll be sorely disappointed. This is a smart bit of paranoia cinema that takes its time (sometimes a bit too much) but was an excellent viewing experience.

The Mummy (2017)

Woeful!

[2/10 · 9 June 2017]

Wow, never thought I'd be saying bring Brendan Fraser back.

A Tom cruise vehicle if ever there was one, for the amount of action there is I can't get over how boring it is. The mummy is woeful from start to finish, every actor is a stiff. The dialog and not to mention "the humour" is excruciating. The dark universe seems to have sunk before it has set sail.

I had low expectations before going into the screening but had the best hope in the world. Dashed as soon Russell crowes horrendous exposition kicked us off.

Alien: Covenant (2017)

Maybe they should stop here, before tarnishing the original!

[6/10 · 14 May 2017]

The alien movies over the years have mutated manifold from straight up horror to a full on war/action flick then to a mixed backstory starting in alien 3 which was interesting but a massive failure. Prometheus visually stunning as it was was let down by an awful script an dialog in particular.

Where do we come from? Why are we here? Themes from Prometheus continue in the very first 5 minutes before the credits have even rolled. It continues to beat you over the head with its backstory which, for me makes no sense whatsoever. Some of the dialog references other master horror works such as Frankenstein but does so in a way that it's up its own arse. Forgetting what alien actually was in the first place, a coincidence that was never about back story. Characters explain the plot in basil exposition speaking like no one ever would - speaking their thoughts at every opportunity - yes we get it, it treats the audience poorly.

What I did like was the scene shown much in the trailer, a character trapped in concealed room as something happens to her colleague. It was a longer scene that was tense and exciting and I oh so wish the rest of the movie could have come close. In a strange way alien covenant takes iconic moments from the franchise and tacks them on here but makes me wish I was watching alien or aliens instead. It's technically good as always Ridley Scott is a visionary filmmaker, but is unable to turn a weak script into a good film.

Alien:covenant gets locked up in its own self importance while forgetting why we loved alien in the first place. I really wanted to like it but came a way with a huge sense of disappointment.

Blue Chips (1994)

Deserves more attention!

[7/10 · 6 April 2017]

Nick Nolte plays a college University basketball coach forced to break the rules in order to stay competitive. He deals with guilt and struggles internally with something he has always been against.

What a surprise Blue Chips was, expecting a below par sports movie (based on reviews) but found a thought provoking and entertaining 110 minutes. To begin with it hits the normal sports movie beats but just when you think the drama is going one way, suddenly it doesn't and that only adds realism to the action.

William Friedkin does an excellent job in creating a tense and real life atmosphere, almost documentary style at least during the game-play scenes that makes you feel fully immersed. It's clear Friedkin and co have thoroughly researched this area and you get a sense of that while watching. The use of real life Basketball players and coaches adds to the authenticity.

During the drama the film deals with the shady dealings that no doubt goes on in American sports at college level (It's a massive deal, where careers and futures are made). A story of greed, cheating and pressure to win. Nolte is great in the role and gets to show off his soft side while also providing his well known manic style. Blue Chips really is an under-rated film although not perfect it deserves to be more well known.

Kong: Skull Island (2017)

Don't go into someone's house and start dropping bombs unless you're picking a fight

[6/10 · 9 March 2017]

As far as big blockbusters go, Kong: Skull Island is not half bad. The first 30 minutes or so pass by and plays out in typical fashion, the soldier stereotype as seen in countless films meat headed with a gung ho mentality. Which in essence is a moral of the film "don't go into someone's house and start dropping bombs unless you're picking a fight". The first 30 mins despite the roaring action is pretty dull, the CG graphics are pretty spellbinding the detail on Kong specifically.

Not until John c Reilly turns up was I fully invested and in all honesty he steals the show. He provides a couple of dazzling lines and weirdly enough injects some much needed heart into a so far emotionless ride.

The music was good except it suffered from the "suicide squad" syndrome it was over used almost to breaking point. An excellent use of Jefferson airplanes white rabbit can always be forgiven though. Kong references a whole bunch of other films some obvious choices, others not so obvious. Ranging from music cues (the shining, fear and loathing in Las Vegas) then to some more on the nose Vietnam flicks ( apocalypse now, platoon, full metal jacket)

Never tries to be smart and plays Upto the ridiculousness of the story to good effect. In all honesty I've never seen a Vietnam pastiche quite like it. For the most part it's extremely enjoyable and there is tons of fun to be had.

Mustang (2015)

Beautiful

[8/10 · 10 January 2017]

Full of heart, Deniz Gamze Ergüven's feature film debut is about five orphan girls who once are seen innocently playing with boys on a beach, Which outrages their strict conservative guardians who confine them while forced marriages are arranged.

This is a terrific film that doesn't shy away from harsh realities, which like the film says their lives change in the blink of an eye because of a wholly innocent event. It gives an insight to a different culture and in particular the way women are treated, the director clearly has a lot of influences from prison films to Iranian cinema.

It is shot hand-held which gives the drama a sense of the chaotic and turmoil, that these girls no doubt feel inside. I was rooting for them all the way, all the girls were great but the youngest "Lale" played by "Günes Sensoy" was terrific capturing the essence of not quite teen, goofy, inspirational child, who you warm to more and more as the drama continues. It has some genuinely funny moments one involving an auntie taking drastic measures, to ensure the girls are not caught by the men once they have sneaked out to join the all female supporters for a football game.

A heartwarming and heartbreaking film, with an excellent score by Warren Ellis which gives the film even more soul.

One of my favorites of the year.

What? (1972)

A product of its times, instantly forgettable

[3/10 · 1 April 2016]

A direct quote from Polanski "My wish was to make a film without costumes first of all, preferably without clothes at all. And without catapults and stage fights. MacBeth exhausted us all to such an extent that we were truly ready to change professions." What? For the most part is a throwaway sex comedy, a film to pick up the spirits at the time depleted director - An absurd Italian Sex farce for which in Italy at least was a success.

It's no more than a series of vignettes with no real beginning, middle or end. Things just happen for no apparent reason and without any explanation. Nancy (Sydne Rome) after escaping a trio of inept rapists stumbles into a rambling coastal estate wearing little more than an napkin throughout.

Certainly a misstep in Polanski's oeuvre but it's not without its moments of genuine humour and flashes of his trademark shots. Moments of wit in the script but most of the shortcomings are in the direction itself What? Indeed were they trying to say? A running time of 2 hours does test the patience, a film for completists mainly instantly forgettable, but maybe this is what was needed to recharge the batteries to make his next film "Chinatown".

Mission: Impossible - Rogue Nation (2015)

A slight disappointment given whats gone before!

[8/10 · 30 March 2016]

The Mission Impossible series has only gotten bigger since its inception on to the big screen 20 years ago opening with Brian De Palmas smaller scale slick and intense thriller where we are introduced to Tom Cruise's secret agent Ethan Hunt. John Woo then steps up the action with MI2 Slow-mo shots galore and full of the directors trademarks which work ever so well in Hard Boiled but fail Massively and is a miss-step in the franchise. JJ Abrahams directs the darkest in the series to date , portraying a more vulnerable Ethan Hunt and for my money has the best villain of the series in Phillip Seymour Hoffman. 2011s Ghost Protocol yet again ramps up the action to good effect with some of the best action set pieces of the series bringing on board Brad Bird in the hot seat and seemed to revitalize the flailing franchise.

Rogue Nation is the fifth installment. The IMF has been disbanded and Ethan Hunt is now an outlaw for the C.I.A. The team have their most impossible mission yet, eradicating the syndicate - A rogue organization helmed by Lane (Sean Harris) committed to destroying the IMF.

Full of blistering well done fast paced action as to be expected but I don't think it has moved the franchise any further, now more than ever in the Tom Cruise show has become a series of massive action sequences that could be shown in any order and it wouldn't make a difference. Nothing quite matches the stunt on the Burj Khalifa, here it seems to be a nuts and bolt affair which makes it mostly tension free which is a disappointment.

Christopher McQaurrie does a fine job in the directors chair but the screenplay is so-so. McQaurrie seems to be able to direct over the top action with his eyes shut one of the best in the business in this genre (The Way of the Gun is an underrated classic in action cinema). Which is why it's hard to take that MI:5 is lacklustre in almost every other aspect with the exception of a couple of great action sequences.

Same old, same old for the crew here Cruise the unstoppable machine with some spectacular and daring stunts which he indulges in more than ever, Simon Pegg's Benji the comic relief which for me grated at times, The ever tough and stolid Brandt (Jeremy Renner), Ving Rhame's Luther cool as a cucumber as always. A new face in Rebecca Ferguson for my money (Acting wise at least) is the star she absolutely convinces in her role and you as the viewer are never quite sure what sides she is really on.

There is certainly a lot of value in here for action heads it just seems for me at least to be getting somewhat stale don't get me wrong I do like it as it is one of the better franchises out there. It's the same old and that's all good if that's what you are after get some more suspending wires and tapping on laptops mid-air. Worth checking out but for me was a slight disappointment . It adds nothing new for the audience maybe it does for Cruise personally film by film outdoing himself stunt wise. As a spectacle it's decent but not the best in the series.

High-Rise (2015)

Stylish and darkly humorous, at times ugly and unsettling!

[8/10 · 25 March 2016]

High-Rise is director Ben Wheatley's 5th full length feature (Down Terrace, Kill List, Sightseers, A Field in England) his biggest budget and his most ambitious. An adaptation of J.G. Ballards novel of the same name, although I haven't read the book I do hear that it's a pretty faithful telling. The film is full of stunning imagery and crammed with dreamlike (and at times nightmarish) moments. It seems to be one big metaphor on social status and class systems.

Neurologist Dr. Laing (Tom Hiddleston) moves into a futuristic looking tower block in the 1970's. Only to see the new society crumble into age old violence.

The main character of the film is the High-Rise itself, the whole movie set/shot within its walls barring the brief commute to Laing's office. The Architect (Jeremy Irons) goal was for a seemingly self sustaining society with everything needed to survive and thrive having its own supermarket and gym etc. It's also mentioned at one point that one of the tenants hasn't left the building in years. Although still dealing with "teething" problems with regular power outages and chute blockages (A catalyst for the violence that arise between the levels). The question can be asked as to why the inhabitants don't just leave the complex once the chaos starts? As the doors are always open but it's clear these people seem to be wholly dependent on it. Trapped on their levels of society and unable to move any further up.

The performances are great all round with nice turn-outs from Seinna Miller and Elisabeth Moss but for me Luke Evans as the (in the end) savage Richard Wilder steals the show a seemingly natural leader for the lower levels who becomes devoted to exposing the violence and mayhem that's descending within the buildings walls, and the creator himself Jeremy Irons is fantastic as usual giving a slightly ethereal feel to the proceedings. Tom Hiddleston is our centerpiece and our eye amongst the chaos being able to shift between classes. Excellent in the role (and between this and the BBC drama John Le Carre's The Night Manager) it's clear to see why he has become the icon/sex symbol he is.

The main strength of the film is not the at times over convoluted plot or the loose narrative but the visual flair and bravura showmanship that Ben Wheatley and his crew deliver. Some of the Slow-Motion shots are breathtaking (Similar to the technique he showed in the minute budget for A Field In England) I feel he has only enhanced his reputation where some directors who have made good films with low budgets fail given the much larger scale to work with. The editing is tight and add to that Clint Mansell's brilliant score which elevates what is happening on screen building tension and atmosphere where there should be none. There is also a great cover of Abba's SOS which works ever so well.

High-Rise is certainly not without its flaws the plot is all over the place at times to which certainly in the last third the plot kind of becomes irrelevant a next to non-existent narrative making it hard to follow. All that in turn makes it suffer with a lack of empathy with many of the characters and once the mayhem and unpleasantness is in full swing the violence can feel monotonous, making the third act tension free and meaningless. The performances and the arresting cinematography keeps your eyes peeled even if your attention to the plot is wavering.

Darkly humorous and at time ugly and unsettling certainly flawed but undoubtedly entertaining/repulsive. A bold picture that's definitely not for everyone but for me it's exciting to see what Ben Wheatley and co come up with next.

The Tenant (1976)

Disturbing portrayal of extreme paranoia

[9/10 · 23 March 2016]

Roman Polanski's "The Tenant" is a real Tour De Force in it's portrayal of dangerous paranoia. It mixes themes so prevalent in the directors filmography past and present. Presenting a Paris apartment that's every bit as threatening as the one in Repulsion. Nasty neighbors seemingly just as demonic as those in Rosemary's Baby and the theme of identity switching as shown in Cul-De-Sac.

A bureaucrat office worker Trelkovsky (Roman Polanski) moves into a Paris apartment to replace the previous tenant Simone Choule who apparently attempted suicide by jumping out of the window. Trelkovsky then either is a victim to subtle bullying or succumbs to extreme paranoia.

Polanski casts himself in the main role suggesting this might be his most personal film in terms of the themes of being an outsider even though he is a citizen and constantly denying he is a foreigner. Polanski might not be the greatest actor but he certainly has presence in the form of the meek Tenant coming into his own as the film opens up. Seemingly the roles reversed of his real persona. Isabelle Adjani cast alongside him is as always stunning to watch.

The use of sound is also used effectively and only adds to eeriness of the atmosphere and enhances the claustrophobic feel that engulfs the whole film. From the ambient sounds of the Paris setting to the creaking doors and floorboards, creaking pipes coming from the taps all inside the building.

Filled with strange but wonderfully crafted scenes, a haunted bathroom where the inhabitants seem to stand there motionless staring back out increasing Trelkovsky descent into madness. Hallucinations of a bouncing human head outside his window is just plain creepy it's up there with some of the best spine tingling scenes in horror classics.

The Tenant is a disturbing portrayal of dangerous paranoia . Poignant in its approach and full of Polanski's favorite most oppressive themes.

Last Tango in Paris (1972)

"Go, get the butter."

[5/10 · 8 February 2016]

Regarded merely as pornography for many and is most noted for two infamous sex scenes (which in all honesty are tame by today's standards). Last Tango in Paris sets out for much more it's an interesting take on loneliness and depression and living in personal solitude. It's an extremely emotional film, therefore I think it's up to the viewer what you take out of it. I personally only checked it out because of its reputation but I found it to be pretty disappointing on the whole.

A young Parisian women (Schneider) meets a middle aged American businessman (Brando) who demands their clandestine relationship to be based only on sex.

It has been said that Brando gives a powerhouse performance and he certainly gives his all but certainly in the latter half of the film just ends up playing himself. His character is dislike-able (As most of the characters are) if not at times detestable with dialog so crass it's hard to take serious. Although there are a couple of moments in his performance that garner sympathy (most notable a really good scene where Paul lets all his frustration and anger out while saying goodbye to his estranged wife for the last time) which is true testament to his ability.

The film seems to drag on in some places filled with uninteresting subplots Like Jeanne's (Schneider) outside life filled with her pretentious wannabe filmmaker lover which is rather dull and at times tedious.

Last Tango didn't necessarily do it for me but I can't say it was without merit, an Art-house picture interesting because of its historical notoriety but its overlong and at times dull in places.

Touch of Evil (1958)

"Border towns bring out the worst in a country"

[8/10 · 29 January 2016]

Orson Welles was never again to direct in the Hollywood system after making this tale of good versus evil, which was the studio systems loss a man of great talent behind the camera but had the ego to boot.

In an American/Mexican border town a car bomb sets into motion a series of violence and crime, endangering Mexican Lawman Vargas (Heston) and newly Bride Susan (Janet Leigh)

Touch of Evil is all about the direction as Welles is able to show off his directional talents and then some. From the maybe most talked about opening, a bravura 3 minute tracking shot following a car with a bomb planted in the trunk, down a seedy town down to the border patrol to the very last intricate shots set through wastelands to a canal that were in no way logical to the plot but were visually pleasing very much showboating.

The plot is somewhat complex and maybe can't be grasped with just the one viewing given everything that is going on a technically as well. It reverses stereotypes, Vargas a high ranking Mexican narcotics detective and upstanding citizen with morals and an American wife. Hank Quinlan (Welles) who's power and high status in law enforcement has corrupted his mind, out for justice whether justified or not willing to plant evidence to get his target.

The acting is terrific Heston although he doesn't resemble a Mexican it doesn't matter, I believe it to be one of his best roles. Janet Leigh is stunning to look a real beauty of the screen who holds her own. Welles is a powerhouse not only his performance but also physically, his screen presence is something to marvel.

From that opening scene which sets the atmosphere and dark tone for the rest of the 90 minute or so running time, a couple of really tense scenes (A small room interrogation which also boasts Welles prowess) and at one point something horrifying ( There is an implied Gang rape that for me was pretty unsettling and for the year 1958 was a very brave thing to include in a mainstream movie, although afterwards its not to clear what happens)

This will always be held as a classic and one of the best Film Noirs around ( A genre I'm just getting into) I've seen it twice now and feel with each viewing there will be something different to notice and concentrate on. A great technical achievement that seems to be admired by film viewers and film makers alike. The black and white cinematography is stunning. A thrilling ride from start to finish.

The Man Who Fell to Earth (1976)

"Loving the Alien"

[7/10 · 18 January 2016]

Nicolas Roeg's The Man Who Fell To Earth is a bit of a trippy viewing experience full of layered themes of isolation and loneliness excellently portrayed through main star David Bowie's performance to which he later re-counted was the perfect role as to what he was experiencing personally at that time in his life (The Thin White Duke era) . The film aims high in terms of its ideas but doesn't always hit the target, it ends up being a mixed bag.

It's a not so complex plot and one we have seen many times before and since, An Alien Thomas Jerome Newton (Bowie) falls into earth in order to gather what he needs (in this case water) to collect and bring it back in order to save his dying planet (Which remains unnamed). We end up with a film that seems to go nowhere further in terms of plot which I think is the intention. Newton after establishing his plan to get what he needs to get back home hooks up with a passive alcoholic named Mary-Lou (Candy Clark) which leads him on a path of alcohol abuse and internal corruption. It is this theme which is the focal point of the movie.

There is a rather grainy look to the film with dated effects which only add to the charm of the movie. The soundtrack is odd at times has I nice beat of jazz score at the beginning and moves on to campy soft porn vibe during the also camp love/sex scenes which is off-putting. Nothing From Bowie himself but after listening again to his album Low (which has tracks rejected for the film soundtrack utilized in the album) it inspired me to watch it.

It is well acted for the most part although the perfect role in his first outing on the big screen for Bowie, you couldn't think of anyone else possibly playing this part as naturally as he does his elegant and sexual nature really adds to the film. There is also a role for Rip Torn who gives a good performance as a science professor who's life seems to be stale and bored with his sexual exploits with students. Candy Clark is possibly the weakest point in terms of acting although she does a decent job portraying a damaged soul dependent on drink and Newton, it's her more hysterical scenes that get slightly irritating.

Roeg goes for an evocative style in terms of his direction it's like he's out to shock with soft porn sex scenes featuring male and female full frontal nudity. The pacing is a bit dis-jointed with some unnecessary and confusing scenes that lead nowhere and at a running time of over 2 hours its slightly overlong. Some of the dialog only adds to the confusion but I think it makes it more intriguing.

A role that's made for bowie in a tale of corruption of an innocent mind through drink and an unforgiving environment. It has its ups and downs with plotting and editing all over the place, A strange one that I would certainly watch again it takes you out of your comfort zone in a good way.

The Reflecting Skin (1990)

"What happened to the Angel?... Time, even angels lose their wings"

[8/10 · 15 January 2016]

From Author turned filmmaker "Phillip Ridley" comes his mythical and mysterious film debut "The Reflective Skin" a strange and unsettling look at loneliness and loss of innocence. Comparisons to David Lynch will always come about if a film is in anyway odd or weird but this is certainly no imitation more in style with Twin Peaks to which this was released before.

The story is told through the eyes of a not so innocent 8 year old boy named Seth set in rural America in the 1950's, with world war II still imprinted on the mind of the citizens. After his father tells him stories of Vampires, he lets his imagination get the better of him and becomes convinced that the widow Dolphin Blue (Lindsay Duncan) who lives up the road is a vampire. He tries to dissuade his brother Cam (Viggo Mortensen) from getting involved with her. He deals with abusive figures around town in an unforgiving environment. Children start to go missing and might no why, but could it be the vampire?

From the opening scenes of beautiful imagery and the striking golden corn fields I knew I was in for something surreal and fantastical, something different. Scenes of Seth and friends blowing up a frog with a straw then making it explode, twin girls walking down a path with a dead seagull in their hands clucking while looking on intently could come straight from a nightmare and the latter scene especially can send shivers down your spine.

The dark tone never shifts it stays there and it lingers in the mind until well after the film has finished. The unsettling and melancholic atmosphere is aided by the score and is effective in the more poignant moments.

The child acting is far from great however and at times can take away from some of the seriousness of the drama but for me never spoiled the horrors unfolding on screen. Viggo Mortensen is very good in his role playing a character who is also fairly damaged by his environment after fighting in the pacific islands.

Overall The Reflective Skin is worth seeking out, it may not be for everyone but everyone who does enjoy can take something different out of it. It's haunting with stunning cinematography and landscapes if you are a fan of surreal images in film you are in luck.

Labyrinth (1986)

Heart warming fantasy with puppets!

[9/10 · 11 October 2012]

First of all i will start with i watched this movie as a child numerous times and absolutely loved it.

16 years on i decided to watch it again, after contemplating it might ruin my memory of the film it didn't.

But i will say this as a child watching the Labyrinth it was magical and a tad creepy not so much that it would give you nightmares, but enough creepiness considering it's about a goblin king (David Bowie) who wants to turn the baby he has taken into a goblin.

Jennifer Connelly gave a good performance plus she is cute as the whiny "It's not fair" teen. Sarah is plunging in puberty — that all of it might be going on in her dreams. That her companions on this journey are merely living versions of her most reassuring bedroom toys. When she departs the land, she is finally departing childhood.

Of course i was not thinking this as a child, it was just a fantastic world full of puppets. It does seem to get a little aimless at times and many encounters come to nothing. Yet the puppetry is nothing short of genius from the mind of Jim Henson.

Yes the effects are dated but so are some of the classics that revered by most.

If you never watched this film as a child i think you missed out, watching it as an adult will never be the same but it still enjoyable. make sure you show this to your kids as I know I will.

The Crazies (2010)

Much better than i was hoping for!

[7/10 · 7 October 2012]

Remake of the 1973 George Romero shocker where a toxic spill turns a small town's locals into murderous lunatics.

Breck Eisner's remake of George Romero's 1973 shocker is one of the few recent horror retoolings that doesn't provoke feelings of dread in that unlike, say, Halloween, the original wasn't much good to begin with.

Ogden Marsh is the kind of small town where ghastly things are apt to happen in films like this, in this case a crashed military plane spilling its cargo of toxic lurgy into the local water supply and turning the locals into murderous nut-jobs. Even worse, Hazmat-suited army goons turn up to 'deal' with the problem.

We've seen it all before, but Eisner stages the shocks efficiently, and Timothy Olyphant is pleasing as the heroic sheriff.

The Dark Half (1993)

A decent Romero effort, falls short though!

[5/10 · 7 October 2012]

Inspired by Stephen King's pseudonymous adventures as Richard Bachman, George Romero's adaptation of the bestseller stars Timothy Hutton as mild-mannered literary failure Thad Beaumont who is exposed as pseudonymous bestseller George Stark, author of nasty thrillers about razor-slashing mobsters. When Thad reacts by killing off his pseudonym and posing beside a gravestone with Stark's name on it, his alter ego manifests himself in the real world. Having crawled out of his grave and generated a body from the buried remains of an unborn twin once removed from Thad's brain, Stark goes on a rampage, slashing up all those involved in his murder and leaving Thad's fingerprints all over the shop. Sounds good, no? King's novel discusses fascinating personal material and questions the responsibilities of the popular artist, but it's also a bloated pretend-horror freak that fails to make any plot sense and goes on about 250 pages too long. Romero does his best to streamline the flabby storyline and gets some extraordinarily subtle performances from a great cast, but King's malformed original keeps hobbling the film.

This is too well-made and acted to be a total failure, and even the formulaic slasher scenes are handled with creepy aplomb(the first 40 mins or so are genuinely creepy). Hutton, in two complicated roles, digs deeper into the characters than duty calls for, and manages to make some of the quieter moments far more upsetting than the big shocks. You also get the excellent Madigan as Thad's devoted but apprehensive wife, Henry: Portrait Of A Serial Killer's Rooker as a bewildered Sheriff, and a genuinely haunting use of Elvis' Are You Lonesome Tonight? Certainly not one of the better King adaptations although i didn't think much of the book and it does do the book justice. If you are a fan of the book you might like this.

Planet Terror (2007)

Late night, Zombiefest fun!

[7/10 · 12 August 2012]

This i liked which surprised me as i really didn't think i would given the trailer and only watched this because it was part of the "Grindhouse" films (I for one liked Death Proof) and was directed by Rodriguez (From Dusk Till Dawn, The Faculty and The Mariachi Trilogy). It helps to watch this with your tongue firmly in cheek, it's a late night beer in hand Zombiefest of silliness.

The star turn for me is Freddy Rodriguez's "El Wray" dead pan take on all these late night film characters you have seen before and has the biggest laughs of the film.

The last 20 minutes got a little bit too hectic as expected (reasons for not liking the trailer) and some needless cameos from Tarantino and Bruce Willis. QT's in particular needless pervy soldier scene is terrible.

All in all Planet Terror is a good dose of uneven horror/comedy I preferred this to Death Proof and is a good watch with a cold one or in a tender state of a hangover, good fun!!