suspiria56 Reviews

Oasis: Supersonic (2016)

A real documentary about the music industry

[3 October 2016]

Regardless of the subject matter or the music, this is a brilliant documentary, never anything other than subjective. Obviously I'm a fan-boy, loving the first album despite phasing out after the release of the SOME MIGHT SAY single and disliking the 2nd album with growing apathy with each release and the growing super-stardom that followed. The summer of '94 brings great memories, with friends, whirlwind romances, chemical discoveries, and what not, fun coming out me ear-holes, with Definitely Maybe sound tracking it. I'd managed to stave off the tracksuit image....just.....but it all felt real still. I'd grown sceptical of what the band later achieved and audiences that followed them. I guess it was inevitable, and call me a snob, but it was satisfying that last night this doc identified exactly what happened to Oasis, what they became, beyond any media promotion or shallow hipster idolisation. They simply haven't got the creative nous to produce further albums of greatness beyond that exhilarating debut (think the Pistols here also, like). And its for all to see up there on screen, the original bands awareness of themselves beyond the cocaine fuelled hedonism and, of course, the wealth. Of course it carried on as we know and the rest is history, a disappointing history for me, alas. Because Definitely Maybe is a f*cking mega album, end of. And this doc is too. Its not DiG! that the f*cking hipsters all think is great (Its not guys - its a shocking doc, but has great music). Its the real deal whether you like the band or not, an expose of EXACTLY what it must be like for a bunch of scallies from Burnage, with a love for hedonism and rock 'n' roll, who got marketed and became massive beyond their control. Mega! x.

Nightmares in Red, White and Blue: The Evolution of the American Horror Film (2009)

Tired retread bringing nothing new to the table......

[22 August 2011]

Yet again we are fed the same old treatment for a new decade. (The American Nightmare treaded much the same ground previously). Watching this latest 'historic' instalment of how cinema's arguably finest and most effective genre came into fruition, feels like a retread, nothing new, nothing challenged. Granted the first half of the 20th century is covered with enthusiasm, but it is when contemporary American horror cinema is tackled does this documentary fall flat, with an approach almost like first year academia.

However, John Carpenter makes a perfect point mid-way through in that we give directors like Craven (for Last House on the Left) too much credit by saying that films like Last House on the Left was pure social commentary. Or like Eli Roth's criminally over rated Hostel. These are not great social comments on America.

Indeed, Last House on the Left is an excellent film, but it is an excellent exploitation film…and a film that can only be a product of its time - i.e. US cinema became more independent following the mid-60s boom, of which European cinema had been for many years. Before that, it had been controlled implicitly by a studio system. The horror genre will always thrive through independence.

With Hostel, it is again a product of its time (okay it has trite, spoon feeding themes in it, but still…). It is a reaction to how desensitised audiences have become with the genre, a marketable push again by Hollywood studios to cash in on real issues - it's painful really, and a reason why the sludge of American horror cinema at the moment is truly woeful.

Another point made here also was that the barrage of updates/remakes of 70s horror has become more gory and violent linked to events in the world ….don't give me that, it is purely that we are used to dumbed down violence, not just from news reports but by the need to shock and go one step further with what has previously been made, typified again by the US studio system (can you imagine a remake of Texas Chainsaw Massacre with no blood in it, ironically like the original - the studios wouldn't take the risk). The US studio system would remake anything if they could, but the marketable agenda is largely ignored. If the point was that these remakes reflected social ills, why is it that the slew of far Eastern horror, mainly from Korea and Japan, are tame versions of their original sources, not bloody, shocking versions. It is studio tactics, nothing more, nothing less. It is of no coincidence that the far Eastern originals are far superior, particularly as effective examples of the horror genre.

Ultimately, the real depth to US contemporary horror was missed here again with this doc. We've heard the same trite academic stances before, over and over, with no counter argument. It is worth noting, and ignored in this documentary, that 70's US exploitation cinema is just as important in the history of the American horror film. Exploitation cinema exists outside of the studio system, away from franchises, pushing boundaries and normal expectations, much in the same way that there is a wealth of amazing European exploitation films (Italy, Germany and Spain being obvious sources of origin, yet many more beside). This brought to American cinema, certainly through the advent of the drive-in cinema and grindhouse picture house, a tidal wave of cinema free to explore any avenue, upping the ante of what audiences consumed.

Despite its enthusiasm, and with the usual suspects (Carpenter, Romero, Dante et al) being interviewed, all this documentary really tells us is the historic arc of marketing the horror film….and for that motivation, misses the point entirely.

August Underground's Mordum (2003 Video)

Anti-cinema may not be for me.......but

[16 August 2011]

Now let me get this straight. I love extreme cinema.

The August Underground trilogy is something of a revered thing amongst lovers of gore, horror, and extreme cinema. Mordum, the 2nd part of the AU trilogy, is considered by many to be something of a milestone in those three areas.

Filmed in an ultra-real fashion and seeming like a 'snuff' film, it follows the paths of a gang of three who terrorise and murder various people over the course of a night (?). The film contains a constant barrage of abuse (sometimes the verbal shockingly more disturbing than the physical) as we witness numerous forms of torture and depravity. The protagonists portrayed are possible some of the vilest characters I have ever witnessed; the violence is amongst some of the strongest I have seen (baring in mind that at times the excellent special effects are sometimes exposed due to the zero budget here); and the tone and atmosphere is continually grim. And it is this constant atmosphere that made me revile this film like no other I have seen before it. Having witnessed, and often appreciated, the many examples of extreme cinema, I seemingly have found my limit. Even with last year's controversial A Serbian Film being a million miles away from being this disturbing. Possibly the closest feeling I have taken away from a film to this would be Salo: 120 Days of Sodom or the hard-to-find Snuff 102.

And that is exactly the point of the filmmakers' intentions, who clearly have a talent for this sort of thing (in fact, the latest from co-director Fred Vogel, Sella Turcica, is making ripples in the underground horror scene). But it is nasty and will ruin those not akin to this sort of thing. Although there is clearly not a chance of ever getting a release here in the UK anytime soon, and a cut form would be pointless.

I'm not saying that August Underground: Mordum is a terrible film, it's very effective indeed. I just don't think I have the stomach I clearly thought I had. It certainly shouldn't be banished away by the powers that be just because people can't 'handle' it. It has a place in cinema whether you or I like it or not.

So job done then, Toetag Pictures! Just keep telling yourself: "It's only a movie, it's only a movie, it's only a movie………."

Bug (2006)

Well worth the trip........

[16 August 2011]

Criminally mis-marketed, Friedkins Bug came and went without trace under the horror radar. By no means another Exorcist or French Connection (yet a stratosphere away from the likes of 1990's The Guardian, also directed by Friedkin), this strangely compelling character study of two individuals (played insanely by Ashley Judd and Michael Shannon) on the point of meltdown, holed up in an Oklahoma motel room, is well worth the entrance fee.

Both characters seemingly have a past history, which they come to trust each other with, but are equally unable to prevent their own paranoia and personal demons from taking over. There are subtle asides added to the mix (Judd's ex-con husband returning; military conspiracies), which are amusing but act as slight distractions from the main duo and their increasingly off-kilter actions.

Adapted from his own stage play (of which Shannon predominantly took the lead), Tracy Letts has brought an almost Mamet-like feel to the script, aided further by the film mainly taking place in one locale. This allows for some truly original acting, with Shannon twitching and stuttering in all the right places. Despite a slow beginning, Ashley Judd shows she is an under used character actor, perfectly descending into her characters madness with a crazed glee.

Yet what really impresses with Bug is the direction. Friedkin employs frequent jump cuts and camera zooms, as the madness begins to creep in. A real sense of timing is conveyed with the techniques used. Ambiguity is also suitably thrown in, with many questions raised left open to interpretation. What is real and what is delusion, further complicated in the fact that the narrative time-line becomes blurred (again, further accentuated by the editing used here).

Ultimately, Bug serves as a reminder to the ability of a great director, who one wishes would be more prolific. Bug is not among his best, but a worthy addition to Friedkins body of work.

Black Swan (2010)

Pretentiously stylistic director gets found out in 'lack of depth' bust.........

[16 August 2011]

Aronofsky couldn't direct depth and emotion if it fell from the sky and pirouetted in front of him…… All style, no substance (which suited Pi), and very much self indulgent (which suited The Fountain). Black Swan is as shallow as Requiem For a Dream (completely over rated). Aronofsky's continued pilfering of his beloved Tsukamoto continues, with BS helping itself largely, also, to Satoshi Kon's outstanding anime Perfect Blue.

The sexual nature of BS was trite, at best. Vincent Cassel criminally misused. Portman was okay, but a million miles away from best performance of say Jennifer Lawrence in Winter's Bone. At least Clint Mansell provided again - but a good soundtrack does not maketh a good film.

That was your last chance for a slow dance Aronofsky…….you tourist.

Animal Kingdom (2010)

Tough, somber drama with a distinct air of menace......

[16 August 2011]

All the praise that has been heaped on this Australian crime drama is justly deserved.

Beginning in a slow, somber style with introspective 17-year old Josh Cody reporting the death - heroin overdose - of his mother, forcing him to live with his 3 uncles and grandmother who are heavily involved in crime. The Cody family's criminality comes back to haunt them and others around them, as violence takes its toll.

Excellent performances by all involved here, particularly from James Frecheville, who plays Josh. Even more so, Ben Mendelsohn as the elder brother 'Pope', full of repression, instability, and menace. Guy Pearce brings even further conviction to the film as the lead Detective on the trail of Pope, empathetically using Josh as his pawn. The outstanding score further conveying the intensity and emotions of the characters throughout, with the threat of danger and corruption never far away.

Loosely based on a real-life Australian crime family, the gritty, character-driven approach works perfectly. If you are tired of substandard crime dramas regurgitated by the American market and want more substance, then take sanctuary in this solid study of family loyalty and the devastating effects of violence.

OsC[DisT] (2008)

Stylised and punchy homage to the cinema of Tsukamoto

[19 July 2011]

Great little short film that pays its dues to contemporary Japanese cinema, particularly that of Tsukamoto Shinya and the punk aesthetic of Ishii Sogo.

Not much in the way of narrative here save that of a photographer being stalked by a swordsman amongst urban decay. But narrative is clearly secondary here, all music video styles clearly checked off.

With great editing, manic camera work, and definitely cool, give this director some money and let him go off and make a full feature that would have potential to inject some vital energy into the cinema of today.

The Appeared (2007)

APARECIDOS (dir. Paco Cabezas, 2007)

[7/10 · 23 May 2011]

Following a visit to their comotosed, estranged father, brother and sister, Pablo and Malena, find an old diary which in turn leads them to strange and haunting discoveries and situations.

This co-Argentine-Spanish offering (translated as The Appeared) falls into similar territory as Los Cronocrímenes, Intacto, and Fermat's Room, in the fact that the viewers expectations are stretched, the narrative constantly changing. What is fun, if somewhat frequently implausible, is the many situations the protagonists get themselves into. Each set piece covers familiar ground to standard horror conventions (we get the slasher-killer; the road chase with the 'unseen' driver; haunted house scares), yet always done with the reign pulled tight as not to fall into parody.

Add into the mix historic elements, where we discover the truth about the people and locations that Pablo and Malena find themselves involved with, as well as a truly haunting ending, and you have a neat, ambitious ghost story which although may not fully succeed, in the most part holds the viewers interest throughout.

Taxidermia (2006)

TAXIDERMIA (dir. György Pálfi, 2006)

[8/10 · 23 May 2011]

This brilliantly twisted triptych of three generations of related men may well be like nothing you have ever seen.

Beginning with a low-ranked officer situated in a rural farmhouse in WWII, who despite being regimented to his cause, struggles to keep his sexual fantasies at bay. When he one day has (seemingly imaginary) rampant sex with the Lieutenants wife on top of butchered swine, she later gives birth to a baby boy with a pigs tail. We then see the boy as a grown adult, an internationally renowned speed-eater no less, and thus the second story unfolds. Circumstances dictate, producing the birth of another baby boy, which in turn leads us into the final act. To give further narrative detail away would be harsh, as there is much amusement to be had here.

Stylistically reminiscent of the work of Jean-Pierre Jeunet (particularly his collaborations with co-director, Marc Caro) and the recent output of Roy Andersson. Yet this is an altogether darker fare. Imagine a more gross-out version of the BBC's League of Gentlemen series. With the themes and messages seeming to highlight societies desire to consume and control (and indeed to control our own urges), this has more in tone with the more subversive offerings of Bunuel, or Pasolini's Salo even (particular in the middle segment).

Frequently hilarious, often stomach churning, Hungarian director György Pálfi has given us a surrealistic pillow to put our heads down upon.

Just don't expect to eat very much immediately afterwards.

Angst (I) (1983)

ANGST (aka FEAR, dir. Gerald Kargl, 1983)

[9/10 · 23 May 2011]

This barely seen study of psychopathology may well be the mediums final word on the subject. Those who think a film such as Silence of the Lambs ticks the serial-killer boxes should be warned of this astounding Austrian shocker.

Having been released from prison, we are invited to spend a night with a truly terrifying and different kind of monster, as his compulsion to kill (and therefore achieve a long-time repressed sexual climax) becomes too much and we witness/endure the torment he inflicts on a random family.

There is no glamour to be found here. No preordained set pieces to guide us through. The killers actions clumsy and cold. The minimal soundtrack, lack of on-screen dialogue (the killer's voice-over provides background detail throughout, however), repetitive use of location, and outstanding kinetic camera work, all add up to what is an undoubtedly intense viewing experience. It is to Kargl's credit (and talent) that it never once descends into exploitation.

This goes beyond Henry:Portrait of a Serial Killer, more akin to Zulawski's Possession in as far as presenting mental instability on screen. This portrait will freeze you to the bone.

Targets (1968)

TARGETS (dir. Peter Bogdanovich, 1968)

[7/10 · 23 May 2011]

Coming at the tail end of the sixties, when the American dream ideal was hugely doubted, Peter Bogdanovich's debut film is pretty much like no other around at that time. It tells the dual stories of two individuals and how fate and circumstance bring them together.

Boris Karloff plays aged Bryan Orlok, in a role that mirrors his own personal life, as he decides to quit the movie business due to his own increasing apathy with the changing world around him. At the same time Bobby Thompson, a young man who is paranoid and disconnected from society, goes over the edge and decides to make his mark by killing.

The style and tone of the film makes this a refreshing and alternative take on how people interact, with more than its fair share of social commentaries. Filmed with a slow, methodical approach, and bereft of soundtrack, its cold objective view of the two lead characters, especially with the killer, makes for unsettling viewing. The acting is also top notch and if you were ever in doubt of the talents of Karloff then this will surely convince. He effortlessly handles the often lengthy takes with great skill and at one point recounts a scary tale that will please his fans. The scene near the end where Karloff turns and marches towards the assailant is outstanding.

Echoing the real life killings carried out by Charles Whitman two years previous which shook America, this is a short sharp shock into a particular heart of darkness.

Cold Fish (2010)

COLD FISH (dir. Sion Sono, 2010)

[9/10 · 23 May 2011]

Sion Sono's latest, (very) loosely based on actual events, confirms the director as being one of the most inventive currently working in cinema today.

This bleak tale of repressed, inhibited tropical fish store owner Mr. Shamoto, who when coerced into business partnership by fellow tropical fish vendor Mr. Murata, eventually leads him to violence and serial murder.

This may be the blackest of black comedies you will see all year, but it is also the most furiously original and thought provoking.

This years Visitor Q, if you will.

Stake Land (2010)

STAKELAND (dir. Jim Mickle, 2010)

[6/10 · 23 May 2011]

What with Romero's recent zombie outings proving underwhelming, countless number of low-budget failures, and various parodies of the genre, you would be correct to assume that the post-apocalyptic horror film had nowhere left to run. With Stake Land, our survivors are pitched against bloodthirsty vampires, with the focus being on protagonists, Mister, a vampire hunter, and Martin, a jaded teenager whose parents have recently been killed, who Mister takes under his wing.

Familiar plot devices are predictably in check (religious cult groups; moral dilemma; good vs. evil); and you will find considerably more depth and characterisation in The Road or The Walking Dead television series, for instance. But there are some clever touches that elevate this from being substandard fare. The narration by Martin adds atmosphere and emotional drive, with the solid performances suiting the solemn atmosphere throughout. Those looking for gore will no doubt appreciate the use of the malevolent vampires, which, in a clever spin, only threaten at night, thus allowing the humans slight hope of restoration throughout the day. The direction is tight, with a surprisingly effective mixture of the horror, western, and road movie genres.

If it sometimes lacks the substance its own intentions clearly strive for, then this still remains an above average effort in an already over saturated market.

Marwencol (2010)

Marwencol (dir. Jeff Malmberg, 2010)

[8/10 · 23 May 2011]

As with all the very best documentaries, it's what is implied rather than what is said outright. This brilliantly restrained piece chooses to give subtle information at all the right times, perfectly conveying the emotion attached to its subject matter.

Previous alcoholic, bitter and angry, Mark Hogancamp was left in a coma after he received a savage beating outside a bar by five men. The resulting damage meant that he had also lost a lot of memory from the attack, losing details in his life (including his need for alcohol). Having lost his identity, Mark dealt with his traumas by constructing the titular miniature town of Marwencol, often reenacting scenes from flashes of memory, with toy dolls closely representing people in his life.

Brilliantly paced, we learn of Mark's life, anxieties, and fears, and learn of a lonely, highly intelligent individual, who just does not want any further pain in his life. Thus, retracting from life and society, to live through his doll-town stories.

If the first half is a little labouring in providing information to the viewer, the second half justifies this approach no end, as we compassionately learn of Mark's personality, what makes him comfortable, and the few real loves throughout his life. As well as the reason for the attack that so affected his life.

The film is never judgmental, never dwells on its issues more than others. Scenes of Mark walking a toy jeep 160 miles on his trips to the local stores in order to wear the wheels in and appear authentic, prove to be highly endearing rather than seem odd or snigger-inducing. When Mark's constructions are later discovered as works of art, he struggles with his preparation for a New York exhibition of his constructions and photography. Yet clearly his honesty and integrity have a strong effect on the people he encounters there. What we are left with in the end is an honest portrait of a man overcoming his life's traumas. Therapy through art, in the most dignified and humble of ways.

I'll Never Die Alone (2008)

No Morire Sola (aka I'll Never die Alone) (2008)

[7/10 · 23 May 2011]

When Meir Zarchi made I Spit On Your Grave in 1978, he would never have comprehended the legacy that his film would eventually generate. Seen as one of the more controversial of the named video nasties, it and the genre it has recently been generating is making waves again.

This Argentine roughie must rank as one of the more effective and respectful homages to Zarchi's film. Except that here, experienced micro-budget horror director, Bogliano, takes the genres usual conceits and batters the viewers conscious for the entire duration.

Filmed in the stark sunshine of a remote part of Argentina, a group of four young girls drive past a battered and bloody body of another girl. After taking the body to the local police, upon leaving they are followed by a trio of hunters who show little mercy.

Anyone who has seen I Spit On Your Grave or, indeed, last year's remake will know the direction the film will turn. The violence is very naturalistic which will repulse the unweary. Add to this a relentless, uneasy soundscape that permeates throughout (think Texas Chainsaw Massacre, 1974) which is both grating and disturbing in equal measure. A brilliant example of effective low budget film making, using subtle sound techniques to off put the viewer, making you forget any budget limitations (there are noticeably a few).

The performances from the four leads are pitched perfectly. Bogliano not too indulgent with giving background detail, although a sense of compassion is forced upon us. This is especially true following the brutal ordeal that the group go through. Directly after the violent assault(s), there can be very few scenes as disturbing or powerful in recent memory as the reaction that the group's youngest member conveys, her character completely broken.

Whether anybody would want to watch such fare is really an individual choice. But there is no doubt that this is the real deal - a modern grindhouse film without the retro trappings currently being thrown at us. Granted, there are references abound (see who the film acknowledges in its opening credits for further clues), particularly from the original grindhouse movement (Thriller: A Cruel Picture is covered on a number of occasions for instance), but No Morire Sola remains a horrific horror ordeal. A true video nasty.

Lips of Blood (1975)

The Dream Life of Vampires

[7/10 · 13 January 2011]

The films of Jean Rollin will be an enigma to many who have not experiencing his work, yet for those who allow themselves to be taken elsewhere by his cinema it can prove a highly rewarding experience. The viewer is often taken to places that invoke bewilderment, unease, and sexual desire. By no means Rollin's best film, Levres De Sang (aka. Lips of Blood) is a beautifully lyrical, slow burner that has the uncanny ability to take the viewer into an ethereal, dream like world, where the erotic and the neurotic are intertwined.

The story of a photographer, upon seeing a poster, is reminded of his childhood where a mysterious female vampire. However, this being Rollin, do not expect a traditional vampire movie (although his vampire films are arguably the most faithful to the Gothic aura and mythology of the vampire). Mostly dialogue free, with the acting catatonic, this only adds a surreal edge to the proceedings. And no vampire films have a greater sense of eroticism; it is easily to succumb to female vampires whenever they are on screen.

For the uninitiated, approach with caution. But this is a fine example of the originality and unique approach which is to be found in 1970s European sex and horror cinema.

Of which, Jean Rollin was undoubtedly the master.

Calvaire (2004)

Great modern exercise in vintage horror

[8/10 · 19 August 2010]

Calvaire is one of the leading horror films of the last 15 years, which have exploded (much in the way J-horror did mid-90s) into the minds of horror buffs all over the world. Not only is Calvaire a strange, unnerving, and often amusing experience, it is also of great interest to those well versed in the horror genre.

French acting talent doesn't come much better than Laurant Lucas at the moment, and he convincingly gets lost in his characters journey. Phillipe Nahon's presence is always felt, despite limited screen time. Throw in Brigitte Lahaie, references to Deliverance, The Wicker Man, Don;t Look Now, Polanski, outstanding cinematography (Benoit Debie), and of course The Texas Chainsaw Massacre (which this film closely resembles), and Calvaire can be seen as one of finest examples of modern horror available.

Enjoy your descent into hell.

REC (2007)

Effective, no-nonsense scares..........

[9/10 · 13 June 2010]

There's been a lot of hype surrounding this Spanish horror piece. With a predictable US English language shot-for-shot remake already wrapped up, maybe it is time to believe the hype and watch this before said remake rakes in at the box office. Like Les Diaboliques, The Texas Chainsaw Massacre, like Ringu, REC plays with tension rarely seen in the horror genre. A simple setting, simple narrative, allowing the full horror to unfold. Best seen with no idea of what is to unfold, REC may well be one of the great horrors ever made. Certainly for a ten minute period mid way through, the viewer is left stranded with the protagonists on screen, just hoping to come out of the other end intact. As with all the best horror REC uses minimum gore, sparse dialogue, great visuals. Comparisons to The Blair Witch Project are unfair, as this is superior horror, utilising the slower scenes perfectly by bringing depth and compassion to the characters. Lights out, get close to the screen, and be scared witless. A+

The Living and the Dead (2006)

Brave showing by a director with potential

[6/10 · 23 June 2008]

Ignore the previous comment by 'perisho', but I would take something from the others thereafter, both positive and negative.

Firstly the negatives - yes there are gaping holes in the plot, seemingly situations that wouldn't happen, possibly too long for its plot subject. Right, the positives - great acting, good use of dialogue (often repetitive and therefore affecting), good use of ambiguity (which helps convey the mental health issues that the family have) and possibly explain the seemingly apparent plot holes (is all we see really occurring?), brilliant cinematography, and it's a brave attempt at a all too often patronised subject matter.

Furthermore, it is made on a tight budget in Britain. A rare commodity nowadays. Only a handful of directors in the UK work outside of the mainstream, and Rumley's effort should be applauded. Even the film factory that is the Hollywood machine can't achieve this level of skill (A Beautiful Mind, Rainman...please!). Only say Keane, Devil & Daniel Johnston and Julien Donkey Boy have we seen schizophrenia in the manner with which we see here. Yes, not everything works, but when it does, this film is powerful and touching as anything else in cinema dealing with mental illness.

Well done to the director and may your second feature be as strong.

Tenebrae (1982)

Great psycho sexual thriller by Argento

[7/10 · 17 June 2008]

Anyone familiar with Argento will recognise usual themes of gender, sexuality, paranoia and hatred. Tenebrae is a tight and taut yarn with enough twists and set pieces to please any genre fan. Easily not his best film, but still contains some of his best moments (tracking shot, dream sequence, the ending). It's the parts (like Phenomena, Deep Red etc) which rely on dialogue and characterisation that Argento falls down. But anyone used to his styles won't complain at all. Tracking shots, great 70s soundtrack, John Saxon, lipstick used to its full potential, violent yet stylish murder set pieces. It may not be Suspiria but Tenebrae is certainly worth a look.

The Mark (2008)

The Mark....

[10/10 · 19 May 2008]

I witnessed this impressive short at a local film fest, and being a keen follower of genre based cinema (in particular horror) this four minutes of wonderment blew my face off. Filmed in retro style with epileptic editing techniques, 'The Mark' is something that has stayed with me and etched itself on my brain. A film whose narrative has more ideas than most feature films, benefit is certainly gained from multiple viewings, preferably back to back. Similarities to the works of Kucher, Kern & Lynch abound, but this is a work of true originality. I fear and prey for a full length feature from this director, a person with a crazed eye and a wonderfully subversive passion for cinema. Unforgettable!

Gargandi snilld (2005)

Icelandic insight for all music fans.....

[9/10 · 5 February 2007]

Now depending on your individual music taste may depend on whether you fully appreciate this documentary. However, anyone with an interest in the beauty that is the country of Iceland, alternative music of all genre, just downright decent cultures - will find much here. With music and history moulding to shape a country like no other, the downbeat interviews on show simply convey what Iceland is all about, wrapped up in an hour and a half to one of the most diverse soundtracks around. Most of us have already experienced Bjork's ethereal voice, here backed by a pulsating techno beat at one point; slightly less have witnessed the moving soundscapes of Sigur Ros, never more effecting than sound tracked to expansive shots over Icelands many mountain range; but the joy in hearing Muggisson's brilliant folk sounds, Bang Gang, SlowBow, Mum, the far too brief glimpse of Singapore Sling, early Sugarcubes footage, the development of Punk or witnessing a weekly church meet with the congregation simply having a fun time through music....its all very inspiring to see the protagonists being so down to earth about the whole thing....and thats the truly inspiring thing. No pretence unless warranted....Unique

The Devil's Rejects (2005)

Dumb and Dumber,,,,

[3/10 · 1 November 2006]

Why do people insist on supporting this pathetic film.,.. it is terrible... one of the worst films of recent times.... I've seen many many horror films , the ones that obviously inspired Zombie in addition to the many gems around the world...but do me a favour please and don't wrongfully describe this as intelligent, thought provoking, affecting, entertaining, etc etc... its shallow, terrible editing, character development is shoddy at best, the violence changes from extreme to downright shy, the soundtrack although good is used poorly (check the final scene for a laugh at the change of pace in music yet Zombie allows the slo-mo to laughably go on so long until this change, Sheri Moon, although undeniably sexy is so annoying with the repetitive shots of her laughing/smiling/showing her a55 all in loving slo mo...the dialogue at times is funny but conflicts with the films hard edge attempts at violence........okay if your fifteen then go ahead but there are better films and better films for you...

Survive Style 5+ (2004)

Just not Hollywood!!

[9/10 · 16 October 2006]

Well what can you say... just witnessed this spectacle ... completely crazy...yet still manages to have depth. Not everything works , its a little too long but hey !! who cares when you have plot lines which includes a dysfunctional couple (played to the extreme), repressed homosexuality which blossoms at the end, amazing soundtrack (even the cake song was relevant), a man who is mentally a bird due to hypnotism gone wrong, later taught by his his son to fly due to the son's admiration of his father, Vinnie Jones !? who constantly is interpreted by a Japanese sidekick who never once utters a word of English, the worlds greatest actor (T.Asano), set designs that will blow your mind, spoofs of J-horror/game shows/anything really !! ... i could go on and on... not for everyone but why is this not released in the UK. There is so much more than Ghost stories and Miike takashi (he is still amazing mind)... invest in Survival Style 5+... it makes Tarantino look like Renny Harlin

Hostel (2005)

time to grow up.....

[3/10 · 25 March 2006]

okay ...enough is enough. feel let down by this pretentious and hollow film. Eli, i had so much hope as well. Even think Cabin Fever at least stayed true to its roots. I know people will love this film {gorehounds and/or teenagers} but come on... the film is truly sensationalist and very shallow. See Neil Marshalls attempts at horror. I'm sick of Americanised so-called horror movies. no originality, just rip-offs of {usually eastern} horror done before. Have you seen Suicide Circle then Eli ? Whats with the thriller ending as well, the American dodging/chasing around Slovakia... Jesus man. And the first half seemed to mock the American attitudes towards Europeans. Do you believe in your characters Eli? The portrayals of Amsterdam and, more so, Bratislava was disgustingly inaccurate - was this the point. Then if so, why such a conflicting ending. Come on people, lets wake up... there's better horror out there {Switchblade romance/calviere for the serious or dog soldiers/brain dead for the tongue in cheek etc etc}... Hostel is simply not good enough ... and i really did expect great things {10 seconds and 1 sentence from Miike as well}. At least the kids in the row ahead of me liked the separate gore scenes.... PS. Whats with the 'is slovakia a real country?'.... 'Its part of a country called Czechslovakia {correct spelling}'.... are people this stupid ? .... please let me know. Lee {UK}