7/12/15: The Sleep of Reason

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bad fathers, Benjamin Shielden, Catriona MacColl, cinema, co-writers, Dario Argento, dream imagery, dream research, dream-like, dysfunctional family, Emmanuel Bonami, family secrets, feature-film debut, film reviews, films, foreign films, French cinema, French films, Fu'ad Aït Aattou, Gala Besson, horror, horror films, horror-fantasy, Horsehead, Joe Sheridan, Karim Chériguène, keys, Lilly-Fleur Pointeaux, lucid dreaming, lush, mother-daughter relationships, Movies, multiple writers, Murray Head, Nightmare on Elm St., nightmares, Romain Basset, step-father, supernatural, surreal, Vernon Dobtcheff, Vincent Vieillard-Baron, visually stunning, writer-director

In many ways, writer-director Romain Basset’s feature debut, Horsehead (2014), is as strange a creation as its titular demonic figurehead: both too nonsensical to conform to standard cinematic narratives and not gonzo enough to properly pay homage to the surreal, Italo-gore films that are its obvious influence, the film is lush, visually stunning and stuck in a bit of a no-man’s-land. When the film’s visuals and atmosphere mesh, Basset comes dangerously close to approximating the fever dream insanity of vintage Argento: something like A Nightmare on Elm Street (1984) jammed sideways into Inferno (1980), if you will. When the film leans hard into actual plot mechanics, however, it tends to collapse into a bit of a chaotic mess, favoring complex backstory over actual emotional impact.

Jessica (Lilly-Fleur Pointeaux), our plucky heroine, has been plagued by terrible nightmares of a terrifying, horse-headed demon for the majority of her life. After her grandmother Rose (Gala Besson) dies, Jessica returns to her childhood home for the funeral. Like many horror film heroes, Jessica has a difficult history with her stern, disapproving mother, Catelyn (Lucio Fulci mainstay Catriona MacColl), although she gets along great with her cheerful, ultra-supportive step-dad, Jim (Murray Head). Returning to her old stomping grounds for the first time in years, Jessica and her mom immediately get to butting heads, all while Jim and faithful servant, George (Vernon Dobtcheff), try to run interference.

Once she gets “home,” however, Jessica immediately starts to have strange dreams about her grandmother, dreams in which a younger version of Rose frantically looks for some sort of key. A sinister preacher (Fu’ad Aït Aattou) also pops up in her dreams and he seems to be pursuing Rose, for some undisclosed reason: we know he’s evil, however, because he has one of those patented “totally, completely evil” voices…always a handy indicator. She also continues to see the menacing Horsehead, the towering, monstrous presence from her youth that’s pursued her in her slumber for decades.

Using a handy bottle of ether and some of that “take control of your dreams” advice that all the kids on Elm Street receive, Jessica proceeds to explore the phantasmagoric world of her dreams, attempting to figure out the connection between the creepy priest, Horsehead, her grandmother and that damned missing key. Jessica will have to be careful, however: if Horsehead gets a hold of her while she’s dreaming, it might spell the end of her in the “real world,” as well.

Similar to Rob Zombie’s recent The Lords of Salem (2012), Basset’s Horsehead is a very clear nod to the classic ’80s horror fare of Italian gore-maestros like Argento and Fulci: hell, he even casts MacColl, the star of such Fulci standards as City of the Living Dead (1980), House By the Cemetery (1981) and The Beyond (1981), as Jessica’s mother. With its dreamlike atmosphere, brightly colored lighting and emphasis on visuals over logic, it’s pretty easy to draw a through-line straight into the heart of Basset’s little opus. If you’re going to wear your influences on your sleeve, however, there are certainly worse ones you could pick than Argento or Fulci.

When the emphasis stays on the visuals and vibe, Horsehead works remarkably well: cinematographer Vincent Vieillard-Baron, on only his second full-length feature, produces some staggeringly strange, beautiful imagery, much of which is on a par with the best of Luciano Tovoli’s work in films like Suspiria (1977) and Tenebre (1982). The figure of Horsehead is a genuinely creepy image and certain scenes, like Jessica’s climatic battle with the dream demon, approach del Toro and Tarsem Singh’s level of fastidious attention to detail. Horsehead looks consistently great, with a truly cool sense of Gothic grandeur that befits the more fairy-tale-like aspects of the narrative.

Basset gets good work from a dependable cast: it’s always good to see MacColl and she brings quite a bit of edge to her portrayal of Jessica’s troubled mother, while Pointeaux is a likable, (mostly) reasonable protagonist. As befits the film’s spiritual forebears, some of the performances are a little more over-the-top than others: Fu’ad Aït Aattou’s evil priest and Joe Sheridan’s oddly lecherous doctor are pure comic book, while veteran actor Dobtcheff doesn’t get a whole lot to do as the seemingly superfluous butler/caretaker.

In another parallel with the aforementioned Zombie film, however, Basset’s movie starts to unravel whenever we get thrust down into the actual nitty-grit of the plot. To not put too fine a point on it, Horsehead makes very little sense, even when all of the cards have been laid on the table by the film’s conclusion. This, of course, was a pretty common issue with the films that directly influenced Horsehead: no one ever went into a Fulci or Argento film to focus on the plots, most of which only existed as a rough framework to hang numerous setpieces from. The difference, of course, is that both Fulci and Argento seemed perfectly aware of this and were more than happy to play to their strengths: Basset, unfortunately, tries to have his cake and eat it, too, by turning his film into an extremely plot-heavy, if thoroughly surreal, exercise in combining style and substance.

By the time that Jessica figures out what’s happening, the film has become a morass of missing keys, symbolic imagery, musty old “family secrets” and philosophical concepts masquerading as spook-show imagery. Immaculate conception, stillborn twins, abusive fathers and imaginary churches all make an appearance, although it’s all so much nonsense, at least as far as the actual impact on the story goes. By the time that Jessica is advised to “follow the wolf, not the horse,” I found myself more bemused than anything.

One of the odder aspects of Horsehead ends up being the many parallels between the Nightmare on Elm Street series. From Jessica learning to take control of her dreams, to the “sins of the parents” themes, to Catelyn’s attempt to stop Jessica’s lucid dreaming via some sort of “anti-dreaming” drug, there are times when it definitely feels as if Basset (who co-scripted with Karim Chériguène) is actively trying to kickstart his own version of Wes Craven’s little empire: even the final shot seems to set up a direct, more action-packed sequel, which doesn’t sit comfortably with the film’s headier aspirations.

Despite some fundamental problems, however, Horsehead is still an intriguing, if frustrating, film. Whenever the dream sequences are in full force, it’s hard to deny the intoxicating power of Basset’s imagination: like Singh, he knows how to blend the horrific and fantastic in equal measures, often within the same frame. It’s also encouraging to note that he’s taking inspiration from horror’s forefathers but using it to create his own, new mythology: I’ll take that over another remake/reimagining any day of the week.

For his first full-length, Romain Basset shows a tremendous amount of promise: if he’s able to completely jettison his more traditional narrative impulses and just go with the power of his imagery, I have a feeling that he just might be able to get in the same head=space as his Italian horror heroes. Horsehead isn’t quite a thoroughbred but it’s a damn strong runner: that wins races, too.

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2/28/15 (Part Three): Dying a Thousand Deaths

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Brendan Hood, British films, British horror, Charlie Anson, Christina Cole, cinema, creatures, Dario Piana, death, dying, fear, film reviews, films, George Dillon, Harvesters, horror-fantasy, Ian Stone, Jaime Murray, Michael Dixon, Michael Feast, Mike Vogel, Movies, reincarnation, set in England, special-effects extravaganza, Stan Winston, The Deaths of Ian Stone, violent films

While ambition is a necessary part of success, too much ambition can be a dangerous drug. Take Dario Piana’s The Deaths of Ian Stone (2007), for example: until the film sags under the weight of its own ambitions, it’s a weird, unsettling and fairly unique take on those tired, old “normal person pursued by unknown forces” tropes. Proudly straining against the constraints of its budget, Piana’s film makes expert use of producer Stan Winston’s legendary effects studio, giving the film some extra oomph in the production department. As Brendan Hood’s script keeps springing “surprise” twists and revelations on us, however, the film gradually becomes bloated and unwieldy, taking on the characteristics of the first film in a series, even as the story works towards a self-contained conclusion. It’s quite the pity: until the film stumbles in the second half, it has all the makings of a real sleeper.

Our titular hero, Ian Stone (Under the Dome’s Mike Vogel), appears to have a bit of a problem: every day, he’s pursued by mysterious, monstrous forces and killed, only to be “reborn” into a different life (hockey player, office drone, taxi driver, drug addict, etc). There’s no explanation for anything: he sees many of the same people in each “reality,” including Jenny (Christina Cole), who appears to be his girlfriend; Medea (Jaime Murray), who ALSO appears to be his girlfriend; a sinister hockey referee (George Dillon); and a mysterious man (Michael Feast), who seems to know more about Ian’s situation than our poor protagonist does. Time and time again, we witness Ian attempt to escape from the shadowy monsters that pursue him, only to be brutally killed, time and time again. As he “jumps” from one reality to the next, however, Ian gradually comes to piece together more and more of the mystery. In the process, he’ll learn what the monsters are, who Jenny and Medea really are and, more importantly, who HE really is. Will Ian be able to put a stop to the terrifying events or is he doomed to keep dying, over and over, for all eternity?

Up until the point where Piana and Hood drop the bomb about Ian’s true identity, The Deaths of Ian Stone is a compact, weird and intriguing little film. The various death setpieces are nothing spectacular but all come with an appropriate amount of tension and a handful of genuinely creepy moments. At times, the film recalls Jacob’s Ladder (1990) in the way that it seems to blend the real and the possibly illusory with equal aplomb. Vogel makes a great protagonist and the effects, courtesy of Stan Winston’s team, are nicely realized. For the first 45 minutes or so, the film seems to be setting us up for some kind of alternate reality/parallel timeframe situation and it’s a lot of fun trying to figure out how the various pieces are going to fit.

Once the film springs the “twist” on us, however, it becomes a different kind of film entirely, something closer to Spawn (1997), perhaps, with various elements from Terminator 2 (1991), Highlander (1986) and The Matrix (1999) thrown in, for good measure. It’s not necessarily that the reveal, itself, is bad (it’s not great but it’s not a critical wound, either): it’s the fact that the twist opens the film up and seeks to expand it just as the actual movie is beginning to gear down. It has the effect of making everything past the midpoint seem rushed and truncated, as if Piana was trying to cram two hours of plot development into 40 minutes of film. The twist also turns the film into something of an action movie, which not only deflates the tension to a considerable degree, but also shows off the budgetary shortfalls to a distressing degree: too often, intense action sequences in low-budget genre films come across as clumsy and cheesy, two issues which certainly plague the film’s back-half.

Think of it as the equivalent of trying to hand-write a large sign without properly planning it out: initially, the letters, words and phrases are all spaced beautifully but things get gradually more cramped, crabbed and illegible as the sign-maker runs out of space…words go at odd angles, things end up in margins and odd abbreviations are used to try to conserve space. This, in a way, is exactly what happens to The Deaths of Ian Stone: as the film becomes more complicated and time ticks down, characterization and plot development get more and more truncated to the point where it all begins to take on a kind of shorthand: the bad guys dress just like the leather-clad baddies in The Matrix, ergo, they must be bad. A particular character needs to act heroic, ergo, they act heroic, even if it plays at odds with what we’ve learned. It’s frustrating precisely because it’s so easy to see how this could have worked: an additional 30 minutes here, a few more scenes there, a slower pace over there…while the midpoint twist is the anchor that weighs the film down, it’s death by a thousand cuts that kills it, not drowning.

I’d like to say that director Piana shows a lot of promise here, since he does, but it’s also telling to note that his follow-up, the direct-to-video Lost Boys: The Thirst (2010), is a completely wretched waste of film that seems like a surefire albatross for any burgeoning career. At this point, there doesn’t seem to be anything new on the Italian director’s resume, indicating that my initial impression was on-the-nose. If Piana does decide to tackle genre filmmaking again, here’s to hoping that he builds from his successes on The Deaths of Ian Stone, while avoiding the disaster that was (to this point) his final film. While it’s never boring or terrible, it also doesn’t live up to its full potential: sometimes, simpler really is better.

12/9/14: Truth in Advertising

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Army of Darkness, Brett Gipson, Brian Posehn, Chillerama, cinema, co-writers, Danny Pudi, demons, Dungeons & Dragons, evil books, fantasy vs reality, film reviews, films, horror-comedies, horror-fantasy, Jimmi Simpson, Joe Lynch, Kevin Dreyfuss, Knights of Badassdom, LARPers, live-action role playing, long-delayed films, male friendships, Margarita Levieva, Matt Wall, Movies, Peter Dinklage, practical effects, role-playing games, Ryan Kwanten, Sam Raimi, special-effects extravaganza, Steve Zahn, succubus, Summer Glau, summoning demons

Ever since audiences were greeted with the blatant lies that were Friday the 13th: The Final Chapter (1984) and Leonard Part 6 (1987), we can all be forgiven if we take movie titles with a grain of salt. After all, filmmakers will try literally anything to get butts into seats: hell, Chariots of Fire (1981) didn’t feature one flaming horse-drawn vehicle, let alone multiple ones! The Greatest Story Ever Told (1965)? Sound like a lot of bragging to me. Troll 2 (1990)? Trust me: the connection to the original extravaganza is, shall we say, tenuous at best. By this point, our eyes should be much more open: fool me twice and all that jazz.

For this very reason, Joe Lynch’s Knights of Badassdom (2013) should send up immediate signal flares: after all, the guy’s got the temerity to call his OWN characters “badass”…shouldn’t that be our job? I don’t know about you but I rather resent being force-fed someone else’s definition of “badass.” You see, I have pretty damn high standards as far as “badassdom” goes, standards which poor Joe can’t possibly hope to match. Should I be required to lower my own standards of what does and does not constitute “badassness” simply to satisfy his own misguided vision of his own creations?

Have no fear, fellow travelers: I’m here to tell you that, for once, there’s quite a bit of truth in this here advertising. While we may quibble over the degree, it’s more than fair to say that Lynch’s Knights of Badassdom is, indeed, quite badass. In some ways, he’s turned in the Army of Darkness (1992) sequel that folks have been clamoring about for the past couple decades: merging ridiculously over-the-top fantasy elements, deliciously snarky dialogue and some genuinely surprising gore effects, Knights of Badassdom is a real treat for those genre fans who like their fare loud, goofy and…well…badass.

After a nifty opening sequence that establishes a pretty cool mythos for a cursed medieval hymnal, we’re jumped into what appears to be a Satanic ceremony before finding out the fell truth: these folks be not of the olden times but, rather, are slightly more modern creations: LARPers. For those not in the know, LARPers (Live-action Role Players) are folks who take a look at tabletop gaming like Dungeons & Dragons and think, “This would be so much cooler if it were real.” To that end, LARPers dress in costume and assume the role of various characters (similar to role-playing games) in order to conduct large-scale “battles” and campaigns during the weekend: think of it as Lord of the Rings fans conducting Civil War reenactments and you’re in the right ballpark. While I’ve never actually LARPed, I’ve known a fair amount of folks who have and I can steadfastly vouch for the fact that the pastime is more than ripe for a little gentle satirization. Displaying not only a deft touch with skewering fantasy and LARP clichés but also a genuine fondness for his characters, Lynch turns what could have been a case of “Look at those dumb nerds” into something more traditionally heroic.

In short order, we’re introduced to our three main characters. The defacto protagonist, Joe (Ryan Kwanten), works in a garage, fronts a doom-metal band and has just written a rather intense “love song” for his girlfriend, Beth (Margarita Levieva), who promptly dumps him for being too “aimless.” Joe best friend, Eric (Steve Zahn), is a LARP obsessed millionaire who lives in a fake castle with the third member of their group, Hung (Peter Dinklage), another philosophy-spouting, perma-stoned LARPer.

Under the guise of helping Joe get over his fresh breakup, Eric and Hung get the poor fellow so drunk and high that he passes out, only to wake up somewhere in the woods, in full battle regalia: that’s right, in the spirit of best friends everywhere, Eric and Hung just shanghaied their friend and intend to force him to participate in their hobby as a way of taking his mind off his problems. Never mind the fact that Joe not only doesn’t participate in LARPing but actively mocks it and you have a sure-fire recipe for success, right?

Once there, we meet more of the rogues’ gallery including Ronnie (Jimmie Simpson), the batshit game master; Gwen (Summer Glau), the gorgeous warrior who kicks ass and takes names, her borderline autistic cousin Gunther (Brett Gipson), who’s so far into the game that he doesn’t seem to realize they’re actually playing a game and Lando (Community’s Danny Pudi, in a great role). If you guessed that Joe would end up falling for Gwen, you’ve either seen your fair share of these kinds of films or are mildly psychic. If you further guessed that Ronnie would be holding a grudge against Joe for some long-past slight (in this, giving his character “magic syphilis” during a heated Dungeons & Dragons session) and plans to get his revenge during the game, you’re really starting to scare me, man!

In order to appease the tyrannical Ronnie, Eric, Joe and Hung must perform a “resurrection” ceremony for Joe’s character, a ceremony which Eric opts to undertake using a non-regulation spellbook that he managed to get his hands on. As luck would have it, the spellbook is actually the very same cursed text from the opening (fancy that!) and Eric’s innocent “mumbo-jumbo” actually has a pretty dire outcome: he inadvertently calls forth a demonic succubus, a creature which assumes the face of Joe’s ex- as some sort of cruel cosmic joke. At first, no one is the wiser, as the succubus quickly and quietly works her way through the LARPers, ripping off a jaw here, yanking out a heart there. When tragedy strikes close to home and the truth of the situation is revealed, however, our intrepid crew have no choice but to spring into action and save their fellow role-players (and the world, presumably). As they’ll all come to find out, however, it’s one thing to wear armor and swing a plastic sword on the weekends but a whole other ball of wax to actually square off against ancient, all-powerful evil. Lucky for them, Eric always has a few real swords hanging around and it looks like it’s finally time for him to get…medieval.

Full disclosure: I really dug this film and, in time, might even come to love it. There’s such a gonzo, hyper sense of energy and fun to the proceedings that it’s impossible not to become sucked up in the silly spectacle of it all. Similar to Sam Raimi’s classic Evil Dead films, Lynch manages to come up with a perfect mixture of fantasy, humor and horror, with no one element really dominating the others, although the overall tone is almost always light and goofy. That being said, there are some genuinely strong horror moments here and some extremely well-done practical effects (the finale involving the monstrous demon and a mechanical dragon is a real showstopper) that definitely reminded me of the aforementioned Army of Darkness, right down to the mysteriously alive, sinister book at the heart of everything.

Perhaps the most critical element in a film like this (aside from a good script) is the cast and Knights of Badassdom manages to knock this one out of the park. While Zahn and Dinklage will probably be the most well-known names here, they’re ably matched by the rest of the cast. Kwanten is a great reluctant hero and his transition into armored asskicker by the film’s final reel is unbelievably satisfying. Glau, perhaps best known as River in Joss Whedon’s cult-classic Firefly series, makes the most out of a role that could’ve been more about the “male gaze” than character development: she never seems overly sexualized, however, and is never presented as a shrinking violet or “damsel in distress,” which is incredibly refreshing. Serving as glowering, silent counterpart to Glau’s sarcastic Gwen, Brett Gipson is pretty great as Gunther, who may or may not actually be a barbarian: he gets so many fist-raising moments in the film’s final 30 minutes that he nearly threatens to steal the show from the main characters.

Without a doubt, however, special recognition must be given to the amazing Jimmi Simpson, who makes Ronnie such a completely unforgettable character. Simpson, a remarkably gifted comic actor, has such a perfect sense of timing and delivery that virtually everything he says managed to provoke a laugh from me. Ronnie is the kind of character who could easily have become insufferable: he’s a complete jackass, an ineffectual moron who’s so myopic as to make Michael Scott seem like a major tactician. Despite this, however, Simpson is just so damn good that I found myself rooting for him despite of his caustic personality. As someone who’s head-over-heels for It’s Always Sunny in Philadelphia, I’ve always felt that Simpson’s portrayal of the astoundingly weird Liam McPoyle must stand as one of the best comic creations of the past 40 years: his performance as Ronnie isn’t quite as legendary but it’s not bringing up the rear by much, either.

In any other situation, a film like Knights of Badassdom would have me worshipping at the feet of the filmmakers but this is, unfortunately, the one area where I feel a little qualified in my support. While Knights of Badassdom is only Lynch’s second film, it was technically his debut: started in 2010 and only completely wrapped-up last year, KOB would definitely seem to indicate even greater things on the horizon. The immediate follow-up, however, Chillerama (2011), easily stands as one of the single worst films I’ve seen in my entire life, hands down. An anthology film, Chillerama features a collection of worthless shorts by filmmakers that should definitely know better (Adam Green, in particular): Lynch’s short, even when compared to the others, is really awful. Truth be told, if Lynch hadn’t been behind Knights of Badassdom, I would have completely written him off after seeing Chillerama (which I saw before screening Knights). As it stands, I really have no idea where he’s going from here: his next feature could either be an unmitigated classic or the equivalent of cinematic coal in the stocking…only time will tell.

At the end of the day, however, the only thing that really matters is what’s currently in front of us: Knights of Badassdom. On this regard, I was completely blown away. Basically, Lynch’s film is the epitome of crowd-pleasing. This is the kind of movie where the LARPer teams have names like “The Norse Whisperer” and “The Department of Gnomeland Security,” where the final showdown involves fighting a demon with the power of metal (the musical style, not the material) and various locations are named after icons of nerd-culture (my favorite being The Temple of Syrinx, which actually made me do a spit-take). It’s a film that starts out good and becomes gradually better until it’s final 30 minutes are just about as good as it gets, period. It’s the kind of film where characters look into the distance, utter pithy quips and remind us of why we go to the movies in the first place. Knights of Badassdom is the kind of film where you get a line like, “You speak Enochian but can’t drive a truck?!” one minute and “I’m going to stop saving your life if you don’t show me some fucking respect!” the next. It’s a complete blast and, quite possibly, some of the most fun I’ve had watching a film in ages. Joe Lynch’s Knights of Badassdom is, for lack of a better word, thoroughly “badass.” In the immortal words of that other wise-crackin’ badass: “Come get some.”

10/19/14: A (Cow) Tale For the Ages

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31 Days of Halloween, Aleksander Nordaas, cinema, crime-scene cleaners, dark comedies, Erlend Nervold, fairy tale, fairy tales, film reviews, films, flashbacks, foreign films, government secrets, horror-fantasy, huldra, isolation, Jon Sigve Skard, Morten Andresen, Movies, Norwegian films, Scandinavian folklore, Silje Reinamo, Thale, voice-over narration, writer-director-cinematographer

Regardless of where or how we grew up, most of us have at least a passing familiarity with fairy tales: while the specifics may change from culture to culture and country to country, the general sense of wonder and subliminal morality inherent to these kinds of stories are pretty much universal. In many ways, fairy tales are our first experience with notions of “right and wrong,” the idea that each action will always produce a reaction: take the gold that doesn’t belong to you, get turned into a frog…learn to work together with others, reap the benefits…take too much, lose what you already have. For children, fairy tales are (usually) our first real glimpse into the workings of the adult world, albeit gussied-up with plenty of trolls, dragons, anthropomorphic animals and subtle life lessons. For all of this, however, there’s always the distinct notion that fairy tales are fictional: “The Princess and the Pea” is not based on a true story…or so we think.

But what if fairy tales were actually true? What if the fantastical creatures that inhabit these children’s stories were actually flesh-and-blood constructs, hidden from the “real world” by no more virtue than their desire to remain undisturbed? What would happen, then, if the worlds of humanity and fairy tales were to collide? Would it be just like in the Disney cartoons…or would the results be a little darker, something more akin to the classical Grimm tales? Norwegian writer-director Aleksander Nordaas’ Thale (2012) posits just such a meeting between fantasy and reality and the modest results are consistently intriguing.

We open with Leo (Jon Sigve Skard) and Elvis (Erlend Nervold), erstwhile employees of the No Shit Cleaning Service (specializing in crime-scene clean-ups), as they see to their latest assignment. It seems that an elderly recluse has been torn to pieces by animals at his isolated cabin in the woods and the duo have been called in to clean it all up and find the rest of the body, tasks which the novice Elvis approaches with as little enthusiasm as possible. While cleaning up the place, however, the pair stumble upon a hidden entrance to a sealed-up basement: further investigation reveals a modest living area, shelves full of canned goods that expired 30 years ago and some sort of laboratory setup, complete with a large tub filled with opaque liquid.

The situation takes a decided turn for the surreal, however, when a nude, mute young woman (Silje Reinamo) bursts from the tub. According to audiotapes that they find, tapes which appear to feature the voice of the deceased home-owner, the young woman is named Thale. Who…or what…she is isn’t quite so easy to figure out, however, and will lead our heroes to a mysterious government agency, a sad-eyed but cold-hearted G-man (Morten Andresen) and the rather awe-inspiring idea that the surrounding woods may just be filled with the living embodiment of fairy tales, creatures so alien and powerful that mankind would be better served pretending that they don’t exist.

There’s something really interesting about Nordaas’ film (wearing a virtual haberdashery, the film’s writer-director was also its cinematographer and editor), an element that can best be summed-up as “magical.” While Thale is an extremely modest production (one interior, one exterior; a small handful of actors; limited effects), it’s a completely self-assured one, striking a tone that falls just short of madcap but is distinctly zany. The overall idea – that fairy tales may be more reality-based than we think – is a good one and something that’s already been explored to good effect in something like Troll Hunter (2010) and Rare Exports (2010), films which Thale certainly shares an overall vibe with.

The relationship between the world-weary veteran and the wide-eyed novice, despite being a trope nearly as old as films themselves, is well developed by Skard and Nervold, respectively but the real star ends up being Reinamo as the mute, captive huldra. Ethereal, beautiful and just impish enough to keep us guessing, Reinamo is a real dynamo, bringing more characterization to the mute Thale than many actors give with pages worth of dialogue. The scene where she stalks the soldiers through the basement, nude and deadly as a tiger, is a real corker and instantly reminded me of the similarly bravura scene in Tobe Hooper’s wackadoodle Lifeforce (1985) where Mathilda May did pretty much the same thing.

Despite how much I liked the film, overall, I can’t help but wish it had a consistently better look: despite some nice exterior shots of the brooding forest, too much of the interior photography has a cheap, digital look to it that really takes away from the film’s fairy tale themes. If ever there was an indie horror-fantasy film that cried out for the hyper-fantastic, overly fussed with mise-en-scene of Wes Anderson’s oeuvre, Thale is that film. While the movie never looks flat-out ugly, it’s consistently flat, which ends up being a real disappointment. While I’m sure that this can be chalked-up to the film’s low-budget status, it’s definitely a bit of a bummer.

For the most part, however, Thale is a real winner: genuinely odd, suitably whimsical (or as whimsical as a film which features crime-scene cleaners can be, I suppose) and always interesting, Nordaas’ sophomore film is a fast-paced, short (under 90 minutes) and thought-provoking little movie that takes a distinct left-turn from most horror fare and is all the stronger for it. We might not fully understand everything by the time the end credits roll but, then again, when do we ever fully understand fairy tales? Sometimes, there are things you just can’t explain.

3/25/14: If Wishes Were Horses, They’d Eat Your Face

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Andrew Divoff, Angus Scrimm, cinema, djinn, djinns, film reviews, films, gory films, Greg Nicotero, Harry Manfredini, horror, horror films, horror franchises, horror-fantasy, Kane Hodder, Movies, Nightmare on Elm St., practical effects, Robert Englund, Robert Kurtzman, SFX, special effects, special-effects extravaganza, Stan Winston, Tammy Lauren, Ted Raimi, Tom Savini, Tony Todd, violent, Wes Craven, wishes, Wishmaster

In some ways, I like to equate watching films with eating. Sometimes, I’m really in the mood for a complex, sprawling, four-course meal: at those times, nothing less than the twistiest, most difficult foreign film will do. Other times, I want a good, hearty steak and look towards any of the numerous “classics” that I’ve re-watched enough to memorize the dialogue. There are times when I want a little lighter fare: those are always good opportunities for a music documentary, a slapstick comedy or an old musical. At certain times, however, there’s really nothing that will hit the spot better than junk food: gimme the cinematic equivalent of a Ho-Ho, from time to time, and I’m a happy boy. On those occasions when I want to turn my brain off, kick my feet up and satisfy my horror jones, there really isn’t much finer than the first Wishmaster, a snack-pack of goodness that I’ve been enjoying for nearly 20 years.

Right off the bat, it helps to know one very important thing about Wishmaster: the film series began as the labor of love of Robert Kurtzman, one of the premiere special effects/make-up guys in the industry. Along with Greg Nicotero (any horror fan worth his salt should recognize this name immediately) and Howard Berger, he formed KNB EFX Group in the late ’80s. Naming all of Kurtzman’s projects would require its own separate blog entry but we’ll list a few that folks might recognize: Evil Dead 2, Phantasm 2, From Beyond, Predator, Tremors, Cabin Fever, Misery, Army of Darkness, Pulp Fiction, From Dusk Til Dawn, Scream, Boogie Nights, The Green Mile, Hulk…basically, if it was released in the past 28 years, Kurtzman probably had a hand in the makeup, effects work or both.

As with other directorial efforts by special-effects experts, specifically Stan Winston’s Pumpkinhead and Tom Savini’s remake of Night of the Living Dead, the focus in Wishmaster is squarely on the astoundingly gory, over-the-top special effects, most of which are jaw-dropping…sometimes literally. The nifty hat trick here is that Kurtzman has taken an entirely serviceable idea for a B-horror film and tricked it out with an immaculate, shiny coat of candy-apple-red primer. As mentioned earlier, this is pretty much the epitome of junk food: delicious but nearly devoid of any actual nutrients. Wishmaster is like an amusement-park thrill ride: a blast to sit through but essentially incapable of changing your overall world view.

As far as a story goes, Wishmaster is pretty lean and mean: an opening inter-title explains that there were once men, angels and djinn. The djinn didn’t want to play nice, despite their ability to grant wishes, and were banished to the furthest regions to prevent their complete destruction of humankind, an event which they can bring about simply by granting the same person three separate wishes. Cut to Persia in the 1400s and we see all hell (quite literally) bust loose as a djinn grants a king’s second wish. Before the djinn can grant the king’s third wish and damn humanity to an eternity of servitude, a court magician imprisons the djinn in a gemstone. Cut to the present and a drunken accident at a dock has led to the discovery of the gem: the gem changes hands until it ends up with Alexandra (Tammy Lauren), our spunky heroine. As can be expected, the djinn is eventually released and goes on a wish-granting rampage, all the while trying to get back to Alex: if he can grant her three wishes, mankind can kiss its collected asses goodbye. Will Alex be able to save the world? Will she be forced to use her third wish? Will the djinn help them throw the craziest party in 600 years? As if you had to ask!

Let’s get one thing absolutely clear: Wishmaster will never win any awards for acting or its script but that’s not really why we’re here: we’re here because this thing is a party in a can. Decades before audiences thrilled to “in-on-the-joke” junk like Snakes On a Plane and Sharknado, we all had to make do with good, old-fashioned B-movies, films that took themselves at least seriously enough to avoid winking into oblivion. Wishmaster is a film with plenty of heart (all over the damn place, pretty much) and isn’t so terribly removed from the effects extravaganzas that Harryhausen created back in the day…just with a lot more viscera and exploded rib-cages, of course.

Although the film is jam-packed with eye-popping moments, it’s book-ended by its two biggest, most extravagant set-pieces: the opening Persian bloodbath and Beaumont’s (Robert Englund) climatic cocktail party. Both scenes are chock-full of the kind of explosive effects that would be the centerpiece of any other film: someone turns to crystal and shatters, spraying deadly shrapnel around the room; a skeleton rips itself from a man’s body and stands for a moment, pondering the chaos, before running off to cause some more; a collection of bronze and stone statues depicting warriors from various countries and eras comes to shuddering life, in a scene that directly references Harryhausen’s classic films, and massacres a group of armed mercenaries; someone is cut to pieces by living, levitating piano wires, etc etc…In truth, the two aforementioned scenes actually pack in more amazing special effects moments than at least four lesser horror films combined. Even better, the effects are almost all practical, lending the film yet another point of reference to classic films like Clash of the Titans and The 7th Voyage of Sinbad.

I’ve gone on and on about Wishmaster’s effects but what about the rest of the film? While it’s certainly not An Officer and a Gentleman, Wishmaster ends up being a pretty sturdily constructed affair. The film looks great, with a vibrant color palette that really lets the gore pop off the screen. In a nod to old-school horror fans, Friday the 13th’s Harry Manfredini handles the score and it’s a typically good one, even featuring a few pieces that directly recall the “adventurous” music from the aforementioned Harryhausen films. Wes Craven produced the film and, in many ways, it’s pretty comparable to the latter-day Nightmare on Elm Street films, particularly films like Parts 4 and 5, which tended to be more special-effects showcases than the earlier entries. The djinn even gets a massively ooky regeneration scene that manages to give both NOES and Hellraiser a run for their collective money.

The acting, as can be expected from B-movies, is rather hit or miss. Andrew Divoff is a complete revelation as the djinn, playing the villain with just the proper amount of smarmy charm, deadpan sarcasm and dead-eyed seriousness. His quipping never really gets old (although it will get more tedious over the next few films in the series) and I’m constantly surprised that he never became a more prominent face in the horror world, similar to co-star Robert Englund. Englund is quite good as the slimy Raymond Beaumont and it’s also nice to get cameos from a couple other familiar faces: Candyman’s Tony Todd and original Jason Kane Hodder make appearances as a bouncer and security guard, respectively. They don’t get to do much but it’s still nice to see them.

More problematic, unfortunately, is Tammy Lauren. As the lead, we get to spend an awful lot of time with Lauren and her progressively hysterical performance makes this a bit unpleasant, after a while. She’s alright for the first half of the film or so but she sets the controls for the heart of the sun after that and her overacting even begins to compete with the special effects, after a while. A lesser, but still noteworthy, issue is the rather lackluster ending: while necessary to paint the film out of its corner, it comes across as a real head-smacker and more than a little uneventful.

If you can look past the film’s small handful of problems, however, I can see absolutely no reason why any horror fan wouldn’t love this movie. Here, at the very beginning, we saw the groundwork being laid for a franchise that had the potential to rival Elm Street for prime real estate on the horror map. If the series ended up dropping the ball and limping off the sidelines way too soon (Part 2 is merely okay, whereas Parts 3 and 4 are completely execrable), that does nothing to take away from the achievement of this first edition.

Sometimes, I just want to kick back with an old friend and kill 90 minutes: whenever Wishmaster comes knocking at the door, I’m always ready to party.