DVD Review - Exorcismus (2010)

Exorcismus (Spain: La posesión de Emma Evans), 2010.

Directed by Manuel Carballo.
Starring Sophie Vavasseur, Doug Bradley, Stephen Billington, Tommy Bastow and Jo-Anne Stockham.


SYNOPSIS:

A teenage girl's life changes when starts having frightening fits, which her parents attribute to psychological problems. However, she senses that something much darker is hiding inside her and waiting to break into the world.


From the producers of the successful horror saga Rec and Rec 2 comes the supernatural thriller Exorcismus. A Spanish film set in England, Exorcismus shares a similar theme and genre to the producers last efforts; the clue is in the title as the film deals with the possession of a young girl and the resulting attempt at an exorcism to free the youth's body of an evil entity.

The young girl in question is Emma (Sophie Vavasseur) a typically frustrated 14 year old who wishes to spend her time partying with friends, but is constantly nagged by her home-tutoring parents to do the opposite. The film opens with a confused and flustered Emma, self-harming herself in the family home, which is swiftly juxtaposed with her enjoying a computer game with her younger brother. Her hand is bandaged, signalling that her self-harming episode was in the past.

Due to a slightly confusing Tarantino-esque un-linear narrative structure, which is portrayed through erratically composed flashbacks, we are not provided with a transparent explanation of the origins of the young girl's possession. This serves as a suspense device which slowly feeds our suspicion behind the demon's seemingly random presence.

This attempted suspense, along with shaky cinematography and some classic regurgitation from the 'how to make a horror film' back catalogue; obligatory yet mildly effective techniques such as dark and looming establishing shots and point of view peering from behind innocuous bushes, creates the foundations for a watchable thriller. These qualities are marred by unnatural and clunky dialogue, wooden acting from the supporting cast and a budget which although evidently meagre, has not been stretched or supported by ingenuity or creativity. A larger portion of the intended suspense which should be enhanced through the acting has apparently been lost in translation.

Exorcismus does bear similar traits to the Rec series; the contained action within a sole building, the evil spirit vs. the priest and his uninformed accomplices and the ever-increasingly popular hand-held camera technique. Sadly these similarities are not as effectively utilised and for any wanting fan of the Spanish producers, their expectations will be dashed.

Exorcismus does have strong intentions and the film teeters along at an acceptable pace. With a few 'watch through your fingers' moments and a decent twist before the climax, it is at least an experimental effort with shades of a good concept for the producers to unashamedly add to their oeuvre. Predictions of few box-office receipts will surely force the decision to stick to native soil for their next outing.

Jamie Baker

Movie Review Archive

A selection of films to look out for in 2011

Last year the silver screen was once again dominated by sequels and remakes with seven of them (including Toy Story 3, Alice in Wonderland, Iron Man 2 and of course Harry Potter and the Deathly Hallows: Part 1) populating the world’s highest grossing list.

However independent and lesser financed efforts still made their mark with strong representation coming from Britain, with Chris Morris’ dark comedy Four Lions and Banksy documentary Exit Through the Gift Shop among others, as well as claustrophobic war drama Lebanon and sci-fi love story Monsters pulling in high critical acclaim form across the waters.

This year kicks off with I Am Number Four (18 February). A supernatural drama where a teenager (Alex Pettyfer in the evocative title role) with extraordinary powers is hiding his true identity by posing as an ordinary high school student, only for the arrival of a deadly enemy who forces him to abandon his newly found comfortable surroundings.

Battle: Los Angeles (11 March) is another sci-fi spectacular where Michelle Rodriguez and her platoon of marines face off against a hostile alien invasion intent on destroying the city.

Zack Snyder is looking to extend his already impressive résumé with his fantasy dream-based, blood ‘n’ babe’s action fest Sucker Punch (1 April). Expect some stunning visuals and minimal clothing throughout.

The majority of the surviving cast return for Scream 4 (15 April), where once again Sidney Prescott is terrorised by a ghost-faced killer. Director Wes Craven and writer Kevin Williamson are back on board to re-boot the ‘90’s franchise.

The amusingly titled Cowboys & Aliens (12 August) finds rope slingers Daniel Craig and Harrison Ford standing in the way of an alien takeover of the Wild West in 1873. Jon Favreau (Iron Man) directs.

A prequel to John Carpenters horror classic The Thing will reveal the events that directly preceded the battle at the American research facility in Antarctica, with Mary Elizabeth Winstead’s graduate student encountering the shape-shifting monster of the re-used title (released 14 October).

Sci-fi and horror aplenty this year, and with recognised names attaching themselves to these underrated genres will this be the year they flourish?

Jamie Baker

DVD Review - Betrayal (2009)

Betrayal (Norwegian: Svik), 2009.

Directed by Haakon Gundersen.
Starring Lene Nystrøm, Götz Otto, Kåre Conradi, Hary Prinz, Jørgen Langhelle, Fridtjov Såheim and Jockel Tschiersch.


SYNOPSIS:

A nightclub singer and British double-agent recounts her experiences in occupied Norway.


Set in occupied Norway amidst the Second World War, Betrayal concerns itself with opportunists who trade in liquor, cigarettes, lies and anything else they can utilise to their personal advantage and self elevation, in their bid to survive the money orientated battle of the class regime.

Tor Lindblom earns a fortune supplying the Nazis with any commodity they may desire through his popular ‘Club Havana’, a nightclub in Oslo which is frequently populated by the industrial elite, officers of the Wermacht and most importantly Eva, a double agent who works part-time for the Gestapo and performs at the club.

Eva, played by Lene Nystrøm (of 90’s pop group ‘Aqua’ fame) sneaks and cheats her way between no less than three lovers in order to gain their trust and steal their knowledge and secrets, passing them off to her wanted ex-boyfriend Svein Nordanger (Kåre Conradi) so that he can use the stolen intel against the Nazis. All the while she is surveyed by the watchful eyes of suspicious lover Major Krüger (Götz Otto) and newly instated accounts auditor Dr. Walter (Jockel Tschiersch).

It sounds a simple enough premise, but it is made hard work of throughout. The film fails to supply a protagonist, and the central character Eva hardly even gains the status of an anti-hero due to her lack of emotion and individual presence. From the outset we gradually gain access to the story through a series of un-profound introductions to each individual character and their whimsical (considering the setting) personal motives. They snigger and smile their way through the confusing and incoherent narrative tributaries in an unconvincing bid to sustain our intrigue.

The film trudges along at a painfully slow pace and never really picks up momentum until it we are within the third act; an extensive chase sequence, which to the filmmakers' credit does promote an aptitude of accomplished cinematography and regard for inventive and detailed mis-en-scene. It provides a relatively interesting but long overdue climax which finally reveals itself, albeit in a predictable manner.

You cannot help but feel that it is a case of too little too late. We are subjected to a complete lack of mood and intensity which is imperative for such an important genre and with no accessible care or concern for the characters plight and an overall visual experience more suited towards a lacklustre TV history documentary, Betrayal fails on most levels.

First time director Haakon Gundersen has not fully considered his audience; the seriousness of the story apparently overwhelms both himself and his actors with not enough attention being given to its progression or its doomed characters. With all of its individual faults the major issue with the film is its lack of heart, with the only real conviction emerging from Julia Schacht’s loyal secretary, who sadly obtains much less screen time than she deserves.

After the success of Joachim Rønning and Espen Sandberg’s intimate character study of a self-struggling saboteur in Max Manus, I am sure there was a quite some pressure on this latest addition to Norwegian war portrayals, but sadly, it crumbles under the pressure.

Jamie Baker

Movie Review Archive

Thoughts on... Due Date (2010)

Due Date, 2010.

Directed by Todd Phillips.
Starring Robert Downey Jr. and Zach Galifianakis.


SYNOPSIS:

A highly strung father-to-be is forced to hitch a ride with an aspiring actor on a road trip in order to make it to his child's birth on time.


Director Todd Phillips looks to be getting comfortable, and if he is not careful he is going to start making a name for himself. Ten years ago he landed a hit with Road Trip. A film that could have easily cowered into the shadow of teen comedy giant American Pie, but it did not. It may not have matched the era defining success of its counterpart, but it certainly was a close relative.

Since the success of Road Trip, Phillips has gone from strength to strength, securing both the trust of his financiers and the A-list stars that flock to his films. From Starsky and Hutch to last year’s sleeper hit The Hangover, he has consistently displayed his ability to bring fresh, invigorating comedy to the screen with an eclectic range of acting talent.

This month he looks to continue this run of success as helmer of Due Date. Starring Robert Downey Jr. and The Hangover’s own Zach Galifianakis, the film shares a common theme with many of Phillips’s previous efforts of road movie mayhem.

Downey Jr. plays the emotionally unbalanced Peter Highman, who is in almost as much need of an anger management course as he is desperate to get home to his wife who is on the brink of giving birth to their first child. But this is no menial task when Galifianakis’s dim-witted and calamitous Ethan Tremblay inadvertently wreaks devastation upon the new fathers every effort to race home.

With no option but to join Ethan (and his pooch) on a road trip across America, Peter is subjected to constant physical and mental abuse, be it in the form of suffering a very close encountered, cringe-worthy self-pleasuring display, to being arrested by Mexican border control for possession of drugs! All of Peter’s obstacles are of course due to his inane companion’s accidental behaviour and his frustration only grows when Tremblay simply assumes Peter is over reacting.

As the highway gets shorter, the obscenities get louder, but so do the laughs. The pace of the film never runs out of gas (err-hum) and the quality of the acting sustains our intrigue in the outcome of events.

We have seen these characters before; Downey Jr. Is at his sympathy inducing, Dead-pan best which he mastered in Kiss Kiss, Bang Bang, and Galifianakis mirrors his performance from The Hangover, with the difference of significantly more screen time and a heightened idiocy displayed through his character’s quirky oddball disillusionment.

The performances do not feel stale, as they are played with such confidence and panache, and with an array of established actors such as Juliette Lewis and Jamie Foxx contributing their jocose talents, you cannot help but feel that this is one comedy being taken seriously by its collaborators. It is particularly rousing to see these actors lending their talents to the film when they are willing to do so in supporting or cameo roles.

It is not only the acting which will earn Due Date credit and acclaim. With a punchy, invigorating soundtrack reminiscent of Pineapple Express, which contributes immensely to the tone and pace of the narrative and a character driven screenplay, Due Date is more than just a cheap laugh. As with many postmodern films in recent years Due Date does not compel towards providing us with a complete character arc of moral transformation, but to the films credit, this lack of expected fulfilment proves to be bold and satisfying.

A full throttle, laugh-a-minute comedy with outstanding performances from a stellar cast. Due Date has set the benchmark for next year’s comedies to beat.

Jamie Baker

Movie Review Archive

Special Features - Too Much Trailer?

A frustrated Jamie Baker on movie trailers and their habit of giving away just that little too much...

Trailers are one of the most important advertising techniques used in the promotion of films. With the increased accessibility to view them, not only through television and cinema, but also countless other new media devices, we are constantly subjected to their glossy, energetic intrigue which battles for our desire to watch the features they promote.

Originally trailers were used to entice the viewer by showing us snippets of the film; its individual uniqueness and qualities i.e. the genre, whether it is suspense or comedy, and its main contributors. Basically its appeal and why we should pay to go and see a particular film.

But it seems many advertisers are ignoring these simple rules and instead subjecting us to mini versions of the films which reveal all the best bits and even tell us the ending quicker than you can chuck your popcorn at the screen.

With so many films being released each month and each one battling for our attention; many advertisers seem to have the ethos of ‘the more we show them, the more likely they are to come’.

As my frustration has grown, I have realise that it is often films of poor quality that feel the need to grab our attention by bombarding us with as many key details they can squeeze into three minutes, even if it means showing us scenes that are not even in the film.

One of last year’s most anticipated horrors (to me at least) was Case 39. It looked to be a chilling, supernatural thrill-ride with a leading star and an accomplished supporting cast (a rarity from the genre). But because I watched the trailer first I left the cinema feeling cheated.

Apart from the fact it was a lacklustre film anyway, every major scene or incident is already exhausted in the trailer, and it even includes additional scenes that are not featured in the film in a bid to deter and confuse us, as without these red herrings we would know exactly how the film unfolds, who the clandestine antagonist is, and how the film concludes. I became a victim of the increasingly common crime of the trailer being better than the film.

The idea that only films with obvious potential, do not need to exploit themselves by revealing all is advanced by recent successes such as Paranormal Activity.

Paranormal Activity was last year’s sleeper hit and much of its success and revenue came from its clever advertising campaign and the efficiency of its trailer. Rather than showing us any of the film, we instead find ourselves looking at an audience, on the edge of their seats, in the pitch black, flailing and screaming as they watch the film before us.

The ingenuity of this trailer emerges from its simplicity. It only reveals as little as it needs to and leaves us with a great anticipation to indulge in the thrilling experience of those that already have in the trailer.

The creative minds behind many trailers need to learn that even if the film they are promoting is not going to win a bagful of Oscars, at least do not cheat the audience into watching the film as ultimately the effect is a nullified viewing experience.

As Paranormal Activity holds testament to, many of the most memorable trailers do not even feature a single frame of the film, and much of the experience of watching a film can include the hype that precedes it.

So to finish... Scott Pilgrim does get the girl, the piranhas do eat everybody and yes, he does get him to the Greek. Aaaah that’s better!

Jamie Baker