What Films Have You Seen Recently?

[Demdike@Cult Labs]

The Skull (1965)

This Amicus production about a collector of 'special things' starring Peter Cushing (and Christopher Lee) who purchases what is allegedly the skull of the Marquis de Sade is directed by Freddie Francis and proves to be quite a mini masterpiece that has plenty of inventive and disturbing moments that make it feel unique amongst the films of its time.

The flying skull on show is as effective as could be achieved in the days before CGI. The wires do occasionally show but it can't be helped and hardly hinder the sequences as it stalks the house in a wavelike effect which moves pictures and furniture aside as it passes by. The shots from the skulls viewpoint are certainly original and give the viewer the sensation of seeing events from the skulls point of view, its a nice effect but is perhaps overused at times. There's also a nightmarish dream when Peter Cushing's Maitland falls under de Sade's influence which is pretty disturbing and when he wakes finds himself in an apartment with no idea how he got there. Its a very disorienting moment and stands up well to any shocks being produced at the time.

Although perhaps less recognised as an Amicus production when compared to their portmanteau output in my opinion this feature film is better than the lot of them.

Put together.

[MrBarlow]

Lights Out. 2016.

Rebecca tries to protect her younger brother Martin from their mother and a supernatural force.

The concept of this story is a bit like the film Darkness falls, a vengeful spirit and only staying in the light can be the only protection for anyone in the path of the ghost.

Maria Bello plays the mother of the siblings who seems to have a imaginary friend that does exist in the darkness, Teresa Palmer and Gabriel Bateman play the siblings that slowly uncover their mother's past and who the ghost is. David F. Sandberg directed this from his short film and able to use old school visual effects and very little CGI. This may not be for everyone with the concept been done before with a simple looking house, creepy basement that everyone seems to venture down at the wrong time, everyone seems to have a lot of candles lying about, but I still find it entertaining.

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[Demoncrat]

The Retrievers (1982, Elliot Hong)

There comes a point in any man's life when he asks himself "WHY"
I asked myself this many many times during this film
An affable but lazy sort is drafted into yer secret cabal as can happen in life, sadly his lack of know how gets someone killed. His bosses rescind his terms and conditions in a fatal fashion, or does it?
A hoot. We enter that strange woozy world of second tier logic that we love and cherish.

[MrBarlow]

Originally Posted by Demoncrat

The Retrievers (1982, Elliot Hong)

There comes a point in any man's life when he asks himself "WHY"
I asked myself this many many times during this film

I have said that on numerous times and still get the same answer....the film will get better but never does

[MrBarlow]

American Pie. 1999.

Entering a pact can be good, why start a pact with loosing your virginity at prom, what can go wrong does go wrong for the four boys who enter that deal. Porky's stretched the bawdy comedy of the 80s with teens and their virginity's but this one goes a bit further with the Apple Pie humping in the kitchen and hearing about Sherman and a grapefruit, this may not be for everyone, still makes me laugh.

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[Demoncrat]

Virgin Apocalypse (1981, Pasan)

Another in the long line of Joseph Lai/ IFD productions. They make Ho's work looks sane and relaxed, in case you wondered
Essentially a WIP flick, it follows a trio of lasses who fall foul of white slavers, endure various tortures and assaults, the whole bit.
The rather "English" dub just added to this.
"You bloody bastard!!" etc.

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[MrBarlow]

Beyond Darkness. 1990.

A family move into a house that is haunted.

If Amityville had a Italian rip-off this would be it and to be honest this was a lot better than the spin-off's that followed the original film. David Brandon stars as a fallen priest who later seems to be a street preacher and now seeks to help fellow priest Gene LeBrock and his family who are now living in a house of tortured souls. This is very low budget from Claudio Fragasso but it still entertaining.

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[MacBlayne]

GIALLO A VENEZIA

I heard Giallo a Venezia carried a reputation, and it certainly earns it. It’s an odious little thriller that exist only to degrade women, and punish them for seducing the audience. Damnation to the slut for giving me a stiffy, eh?

To be brutally honest, as much as I repulsed by the vulgar content, I did not think the film was boring. There is a trashy mystery that is resolved by a moronic reveal. The film is made with a degree of competence. Venice is a lovely looking city, and the film capitalises on it. It’s not often that you see Venice in cinema outside of the canals. The cops are oddly likable, with the lead having a fondness for hard-boiled eggs. I love details like this. Not so much the sexual violence, which you are frequently assaulted by.

An intelligent filmmaker (for example, Paul Verhoeven or Shinya Tsukamoto) might have latched onto the voyeurism, blurring the line between the audience and the camera, relishing the eroticism, and then making the same audience an accomplice in the vicious killings.

Mario Landi was not that filmmaker. He has no interest in engaging with the audience beyond shocking them with tasteless brutality. In one scene, a man at a cinema pulls his cock out and has a wank. That character is the ideal viewer for Giallo a Venezia.

[Demoncrat]

Your last statement solidifies everything that I feel about GAV.

Ahem.


The Oregonian (2011, Calvin Lee Reeder)

A tale as old as time.
A woman survives a car crash and enters a world that was either all of the director's ideas thrown together in a flurry OR some amazing statement on grief that I missed because I'm pissed again
Ahem.
Mad flick. 16 mm!! He had a hand in the first V/H/S, but has mainly concentrated on shorts it seems.
RLM would have a field day.

[MacBlayne]

NOROI: THE CURSE

“This video documentary is deemed too disturbing for public viewing.” And thus begins Noroi. If you haven’t seen it before, do not watch the trailer. Do not even google it. It will ruin some of the best moments for you. I will refrain from any spoilers in this review. The less you know, the better, since Noroi lives up to its opening promise.

Noroi is a Japanese entry to the found footage genre, but don’t let that fool you. This isn’t a Blair Witch clone that looks like it was filmed on a camcorder nailed to a wheelchair rolling down a hill. Nor is it a Paranormal Activity style film, comprised of long static shots that might feature a door opening by itself and BOO!!!

Koji Shiraishi’s film is a mockumentary, although not one that is a parody of the genre. This has two major advantages. One, it allows Shiraishi to employ professional camerawork that knows how to frame, and when to zoom appropriately. The cameraman is a proper speaking part, that converses with the host which in itself gives the viewer a position within the film.

The second advantage is the host himself. Played by a tremendous Jin Muraki, Masafumi Kobayashi is probably the most likable protagonist within a found footage film. He’s a kind-hearted individual that holds a fascination with the supernatural. He isn’t naïve that he wantonly accepts the weird, nor is cynical that he mocks his subjects. Honestly, he appears to operate out of an element of help, trying to find the solution to an issue troubling a subject. He seems very protective of his interviewees, and at one moment expresses dismay at what he considers exploitation on a television programme. Speaking of which, Noroi possesses a surprising streak of humour, especially with the television inserts. They really nail the "uniqueness" of Japanese TV.

What’s rather interesting about Noroi is that Muraki is a professional actor, as is the rest of the cast. I don’t mean that Noroi kickstarted their careers, but that they were, if not famous, already established within their field. Granted, not being familiar with Japanese television isn’t going to mean much to us gaijin, but for a genre that thrives on anonymity, it’s an interesting decision that clearly pays off. The acting is excellent, and they really capture that sense of wishful optimism and hopelessness.

Speaking of the professional cast, Noroi also surprises with its production values. Noroi was made with a $2,000,000 budget, which is extremely high for the genre, but it’s all there on screen. There are lavishly produced sets, props, costumes, and the film even utilises some startling special effects and audio trickery. The mere mention of special effects may throw you off, but I guarantee you that they are exactly what the film needs. The accompanying soundtrack is a marvel, sort of like a countdown timer performed by John Carpenter, and lends to the overall suffocation the impending horror provides.

Noroi can probably be best described as a cosmic horror. No, that is not a spoiler, or even a hint to a Lovecraftian reveal. What I mean is, Shiraishi creates fear from what we don’t know, not from the unknown. The scary unknown is something we have never considered, and what could it mean for us overall. Noroi gives us enough to let us know something is up ahead – what exactly that thing is though, is beyond our realm of knowledge.

The visuals deserve praise, which is something you almost never hear about found footage. As mentioned, Noroi benefits from professional camerawork and high production values, but like many great Japanese horror films and games (and David Lynch), it’s the juxtaposition of upsetting imagery against the mundane trappings of reality. Slap a grainy home-video filter on top of that, and you got the worst entry to You’ve Been Framed to date. There are images and sounds here that are burnt into my soul, and I hardly slept last night after watching it.

In regards to the story, the most I’ll discuss is the theme of the traditional versus modernity. Japan is a country torn between ancient customs and the expectations of modern life, and a lot of its post-WW2 cinema deals with that. Ozu’s films were the most lamentable. Fukusaku’s were the most nihilistic. Miike was the angriest. Noroi is the most aggressive and despairing.

Noroi is a slow-burning skin crawler. It’s like being slowly pulled by a strong current. You can’t do anything to fight it, so it’s best to let pull you until it’s safe to swim again. Far too late you discover that you are actually caught in a maelstrom that is impossible to escape. You’re beyond saving, but worst of all, you are given time to consider all of the mistakes that led you here.