The makers here claim this to be the last installment but, given the packed house I watched this in at 4 in the afternoon, my suspicious mind is already foreseeing an 8th outing for the deadly trap franchise.
So, what makes this different from the six movies that went before?
Well, pretty much nothing.
Same type of setup: a man is forced to face his own failings, to prove his desire for a worthwhile life through a series of dastardly and sadistic traps that, inevitably, involve some of those closest to him.
So, much of a muchness then, which was to be expected - any franchise that gets to part 7 is bound to be running out of steam - but with Saw VII comes a new gimmick: Real 3D, leading to one of the best taglines I've heard in quite a while:
"This October, the traps come alive."
But did the 3D deliver the goods?
As ever, due to my dodgy eyes it is difficult for me to judge it entirely accurately but, from what I could pick out, it was certainly not as effective as, say, Piranha earlier this summer, and James Cameron won't be losing any sleep over it. Let's face it, once you've seen one length of entrail spinning towards the screen at high speed, you've seen them all.
The makers have been considerate enough to throw in plenty of stuff for long term fans, with some nice references, some all the way back to movie number 1, and with a plot construction that leads to a reasonable conclusion, though not an especially satisfying one, here's hoping they stick to their word and leave this one well alone from now on as, frankly, the only way is downwards from here.
Average, then, but no worse than that.
3 out of 5
Showing posts with label Controvertial movie. Show all posts
Showing posts with label Controvertial movie. Show all posts
Sunday, 31 October 2010
Tuesday, 26 October 2010
Saw III (2006) Dir: Darren Lynn Bousman
There is an argument to suggest that this should have been the last of the Saw movies but, inevitably, when a franchise is making such a killing at the box office, for relatively little outlay ($10 million is the figure quoted on IMDB) then the studio responsible will be keen to continue to maximise their profits.
Not than I'm cynical about the Saw franchise, mind.
Not a bit of it.
But, enough of the griping, let's talk about the movie, because it is very enjoyable fare, indeed.
Jigsaw is close to death, Amanda struggling to keep his bodily functions active, so they devise a plan. Get in a doctor to keep him alive, but booby trap her so that, should his heart stop, the collar strapped to her body will detonate, killing her instantly. See, Jigsaw wants to see out his last game, the subject playing the game known only as Jeff, a man whose son was killed several years ago by a reckless driver. Riddled with anguish and haunted by thoughts of vengeance, Jigsaw intends to give him the opportunity to either exact his vengeance, or to reach inside himself and learn about forgiveness.
Inevitably, as Jigsaw's dastardly scheme is revealed it is far more complex than at first it appears.
Keeping up the level of inventiveness of the first two, this one actually ups the ante in terms of sickness - the liquified pig drowning section is quite simply the most nauseating thing I have ever seen - as well as ensuring that the viewer is pretty clueless as to the endgame until the closing couple of minutes.
Saw is a franchise that divides opinion, where debates rage about the morality of such films, lazy labelling with the term 'torture porn' and accusations that they are derivative drivel and, frankly, there is some justification for all of those things but, call me ignortant if you must, I bloody love them.
Part 7 is due out imminently, apparently The Final Chapter.
We'll see.
4 out of 5
Not than I'm cynical about the Saw franchise, mind.
Not a bit of it.
But, enough of the griping, let's talk about the movie, because it is very enjoyable fare, indeed.
Jigsaw is close to death, Amanda struggling to keep his bodily functions active, so they devise a plan. Get in a doctor to keep him alive, but booby trap her so that, should his heart stop, the collar strapped to her body will detonate, killing her instantly. See, Jigsaw wants to see out his last game, the subject playing the game known only as Jeff, a man whose son was killed several years ago by a reckless driver. Riddled with anguish and haunted by thoughts of vengeance, Jigsaw intends to give him the opportunity to either exact his vengeance, or to reach inside himself and learn about forgiveness.
Inevitably, as Jigsaw's dastardly scheme is revealed it is far more complex than at first it appears.
Keeping up the level of inventiveness of the first two, this one actually ups the ante in terms of sickness - the liquified pig drowning section is quite simply the most nauseating thing I have ever seen - as well as ensuring that the viewer is pretty clueless as to the endgame until the closing couple of minutes.
Saw is a franchise that divides opinion, where debates rage about the morality of such films, lazy labelling with the term 'torture porn' and accusations that they are derivative drivel and, frankly, there is some justification for all of those things but, call me ignortant if you must, I bloody love them.
Part 7 is due out imminently, apparently The Final Chapter.
We'll see.
4 out of 5
Tuesday, 31 August 2010
Deadgirl (2008) Dir: Marcel Sarmiento, Gadi Harel
You know something?
I am sick and tired of zombie movies.
As much as it pains me to confess such, the thought of sitting through another substandard living dead offering, from whatever the source, is now becoming almost obsessional.
For many long years, anyone who asked me the question: "What is your favourite type of movie?" would receive a short, curt bark of the word "zombie." as I scornfully walked away from them, shamed like the dogs that they were.
But no more.
That is, not until Deadgirl.
The plot: Two hormonal twenty five year olds pretending to be 10 years younger go for a walk around an abandoned mental asylum, as you do, and discover a naked woman; beautiful, vulnerable, very, very dead and yet, she still moves. One of the pair is keen upon alerting the authorities, but the other has more devious plans that involve, yes, you guessed it, sticking his pinky piper into the dead girl's crevices until he's really, really pleased with himself.
So begins a battle of wills that can only end with plenty of bloodshed, more than a little naked flesh and a director tainting you at every turn: "That's right, keep looking at her titties. You know she's dead, right? Keep looking, 'cos it's stirring things down below but, remember...she's dead. Yeah, that pussy shot there, the pretty girl with the muff on show, that's doing things, right? But, you do know she's dead...."
A big fan of movies that play with the viewer's morality, this ticks all the right boxes.
For something this low budget, the performances are surprisingly good all round, and there's a nice line in gritty atmospherics.
The director clearly knows the budgetary constraints, and chooses to relinquish spunking most of the dollars on lashings of gore, instead pouring heavy with the tension, to great effect.
Whilst the subject matter will render this film a no-go area for many, those with a strong enough stomach could do much, much worse.
Long live the zombie movie.
Long live the Deadgirl.
4 out of 5
I am sick and tired of zombie movies.
As much as it pains me to confess such, the thought of sitting through another substandard living dead offering, from whatever the source, is now becoming almost obsessional.
For many long years, anyone who asked me the question: "What is your favourite type of movie?" would receive a short, curt bark of the word "zombie." as I scornfully walked away from them, shamed like the dogs that they were.
But no more.
That is, not until Deadgirl.
The plot: Two hormonal twenty five year olds pretending to be 10 years younger go for a walk around an abandoned mental asylum, as you do, and discover a naked woman; beautiful, vulnerable, very, very dead and yet, she still moves. One of the pair is keen upon alerting the authorities, but the other has more devious plans that involve, yes, you guessed it, sticking his pinky piper into the dead girl's crevices until he's really, really pleased with himself.
So begins a battle of wills that can only end with plenty of bloodshed, more than a little naked flesh and a director tainting you at every turn: "That's right, keep looking at her titties. You know she's dead, right? Keep looking, 'cos it's stirring things down below but, remember...she's dead. Yeah, that pussy shot there, the pretty girl with the muff on show, that's doing things, right? But, you do know she's dead...."
A big fan of movies that play with the viewer's morality, this ticks all the right boxes.
For something this low budget, the performances are surprisingly good all round, and there's a nice line in gritty atmospherics.
The director clearly knows the budgetary constraints, and chooses to relinquish spunking most of the dollars on lashings of gore, instead pouring heavy with the tension, to great effect.
Whilst the subject matter will render this film a no-go area for many, those with a strong enough stomach could do much, much worse.
Long live the zombie movie.
Long live the Deadgirl.
4 out of 5
Saturday, 24 July 2010
The Exorcist (1973) Dir: William Friedkin
Without question the finest horror movie ever made, that has lost none of its power to freeze the blood in the near forty years since its original unleashing.
The plot: Regan, a young girl, daughter of a well known movie actress begins exhibiting startling and provocative behaviour, the extremity of which appears to be on the rise. Her mother tries all of the usual experts; doctors, psychiatrists, but none of them can explain her bizarre behaviour, much less the fact that, when in her frenzied state, her actual appearance appears to change almost as if she were becoming someone else, and someone damn ugly at that.
At her wits end, Regan's mother turns to those experts in all things spiritual (and a few other things I shall choose not to mention) the Catholic church, and begs a young priest, on the cusp of renouncing his own faith, to perform an exorcism on her daughter. Skeptical at first, he is soon convinced when he pays a visit on Regan, but he himself must seek permission from the Church. His immediate superior accepts his request, on the condition that an elder Priest lead the exorcism, Father Merrin, played with genuine conviction by the marvellous Max Von Sydow.
Can the two priests save the little girl and vanquish the evil spirit?
What was that damn stuff that spewed from her mouth?
And was there anyone that didn't cheer when the annoying drunken Englishman was hurled from the window?
This movie is so good it renders me literally speechless every time I watch it.
It has it all:
It's scary as hell, with an atmosphere to chill the stoniest of hearts.
There's the odd moment of gruelly nastiness, with the infamous pea soup vomit, head twisting sequences and vaginal abuse with a crucifix.
Talking of crucifixes being used inappropriately, there's a healthy line in blasphemy throughout - something I always approve of - with the church held up to ridicule by the monstrosity within the small girl though, of course, ultimately faith wins out over fear.
Shame.
The performances from all are top notch, with special mentions for Linda Blair as Regan, a more convincing teenager as demonic force you'll be hard pushed to find, whilst Ellen Burstyn (she sounds like someone who really needs to take a pee) does a sterling job of capturing the terror any parent would feel should their child happen to be, say, possessed by something monstrous.
Having spent time with my sister's kids, I think it's a more frequent occurrence than you may suspect.
Wonderfully paced, beautifully shot and THAT score from Mike Oldfield, this is about as good as cinema gets.
5 out of 5. Inevitably.
The plot: Regan, a young girl, daughter of a well known movie actress begins exhibiting startling and provocative behaviour, the extremity of which appears to be on the rise. Her mother tries all of the usual experts; doctors, psychiatrists, but none of them can explain her bizarre behaviour, much less the fact that, when in her frenzied state, her actual appearance appears to change almost as if she were becoming someone else, and someone damn ugly at that.
At her wits end, Regan's mother turns to those experts in all things spiritual (and a few other things I shall choose not to mention) the Catholic church, and begs a young priest, on the cusp of renouncing his own faith, to perform an exorcism on her daughter. Skeptical at first, he is soon convinced when he pays a visit on Regan, but he himself must seek permission from the Church. His immediate superior accepts his request, on the condition that an elder Priest lead the exorcism, Father Merrin, played with genuine conviction by the marvellous Max Von Sydow.
Can the two priests save the little girl and vanquish the evil spirit?
What was that damn stuff that spewed from her mouth?
And was there anyone that didn't cheer when the annoying drunken Englishman was hurled from the window?
This movie is so good it renders me literally speechless every time I watch it.
It has it all:
It's scary as hell, with an atmosphere to chill the stoniest of hearts.
There's the odd moment of gruelly nastiness, with the infamous pea soup vomit, head twisting sequences and vaginal abuse with a crucifix.
Talking of crucifixes being used inappropriately, there's a healthy line in blasphemy throughout - something I always approve of - with the church held up to ridicule by the monstrosity within the small girl though, of course, ultimately faith wins out over fear.
Shame.
The performances from all are top notch, with special mentions for Linda Blair as Regan, a more convincing teenager as demonic force you'll be hard pushed to find, whilst Ellen Burstyn (she sounds like someone who really needs to take a pee) does a sterling job of capturing the terror any parent would feel should their child happen to be, say, possessed by something monstrous.
Having spent time with my sister's kids, I think it's a more frequent occurrence than you may suspect.
Wonderfully paced, beautifully shot and THAT score from Mike Oldfield, this is about as good as cinema gets.
5 out of 5. Inevitably.
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