Horror Fest '09: Fright Night

Picture this: a teenager begins to fear for his life when he suspects his new neighbor of being a vampire. Well, that’s exactly the situation Charley Brewster, the main character of Fright Night (1985), must face. While that scenario may seem standard, even cliché, the film handles it well, making the most out of common story elements. For this type of film the story becomes almost secondary to the tone, which was what ultimately won me over. There are certain sensibilities which run throughout; mostly a sense of fun and a sense of history, which hit the right chords for me.

The appreciation for film history starts right off the bat. The beginning of the film will bring Rear Window to mind for many fans of cinema, as Charley spies on his neighbor and struggles to convince others to believe his wild theory. Referencing Hitchcock’s work, whether intentional or not, sets a particular mood – one of intrigue and suspense that will carry the film. Since no one he knows believes him, Charlie sets out to find Peter Vincent, an aging horror film star who happens to be down on his luck. The Peter Vincent character brings up more references to films past as his name itself recalls horror icons Peter Cushing and Vincent Price. The filmmakers do well to pay tribute to the genre without letting their admiration interfere with telling their own story.

This film boasts some fine performances, especially from Chris Sarandon as the creepy new neighbor. He strikes both a sinister presence and a suave charisma as suspected vampire Jerry Dandrige; a tough line to walk. One minute he’s charming, the next he’s dangerous. Most of the film’s scares come courtesy of Sarandon, especially when Jerry confronts Charley alone at night for the first time. Another top performance comes from Roddy McDowall as Peter Vincent, helping represent the lighter side of the film. He seems to be having a fun time alternating between the horror host persona and true-life cowardly self of his character. William Ragsdale and Amanda Bearse function adequately in the lead roles, although nothing overly memorable comes from them.

I enjoy the relatively small scale of the story as it allows the film to focus on performing the few key aspects it needs to function effectively. As an example of the film’s small scale, essentially only six characters make up the bulk of the film. That aspect makes the film easily watchable, something to throw on when whenever you want. There’s something satisfying about watching a film use standard elements well. It’s like the cinematic equivalent of comfort food. Sure, it may not be the best thing for you, but it’s familiar and likable. Perhaps Roger Ebert put it best when he wrote, "Fright Night is not a distinguished movie, but it has a lot of fun being undistinguished.”

Sometimes the simple approach works best. That’s certainly the case when it comes to Fright Night, a film filled with well-executed conventions. While some may call it cliché-ridden, the film’s overall effectiveness and sense of fun pulls it from stale territory and into fresh.

A Double Dose of Damon

Two new trailers premiered within 24 hours of each other, both of which star busy-man Matt Damon. The first trailer was for Green Zone, which essentially looks another Bourne film, only set in the Middle East (not that that's a bad thing). That comparison, aside from the Damon connection, is mostly due to director Paul Greengrass's presence as he brings his signature hand-held, kinetic style that he supplied in the Bourne sequels. The film's story, based on the book Imperial Life in the Emerald City: Inside Iraq’s Green Zone, involves a search for weapons of mass destruction. Other than that, I don't know that much about the plot, but that matters very little at this point. With Damon and Greengrass, as well as co-stars Greg Kinnear, Amy Ryan, Brendan Gleeson, I'm already sold based on the talent involved. Green Zone premiers on March 12, 2010.

The second trailer was for the latest Clint Eastwood film, Invictus. Based on actual events, the story follows Nelson Mandela’s first term as president of South Africa, and how he held hopes for uniting the country on the 1995 Rugby World Cup. Morgan Freeman plays Mandela, which is no big surprise. Not only does he seem like a natural for the part, he's worked with Eastwood in the past. Matt Damon plays South African team captain Francois Pienaar.
The trailer certainly looks like the Oscar-bait material that people have come to expect from Eastwood, especially of late. I'll definately see it, but the potential level of sentimentality has me slightly skeptical. Invictus will premier on December 11, 2009.

Criterion, You've Done It Again

For some time now, it's been known that the Criterion Company would be releasing Steven Soderbergh's epic bio-pic Che, but details on the release had not been made until now. The film will arrive on Blu-ray and DVD in January with all of the great extra features that collectors have come to expect from the company. Interestingly enough, the film was originally intended as a December release, but was delayed when Soderbergh needed additional time to prepare some of the additional content for the discs. Of the delay, a spokesperson from Criterion stated that, "[it's] a trade we will always make, even if it means we don’t get the benefit of sales in the holiday season, and we think that’s the kind of decision our collectors would want us to make”. This attitude from Criterion deserves some praise. How many companies would choose to wait out a heavy buying season in order to ensure a quality product gets produced? I'm personally looking forward to Che as I'm a fan of Soderbergh's work. He's taken quite a few chances with his films and this one represents one of his biggest. The two-part film will hit stores on January 19, 2010.

Horror Fest '09: The Howling

Some people simply don’t get the credit they deserve. Case in point: director Joe Dante has spent his career crafting some solidly entertaining films, and yet he isn’t anywhere near a household name. Sure, he achieved prominent success with Gremlins (1984), but most people paid attention to executive producer Steven Spielberg’s name above the title. Mainstream success aside, Dante has continually generated films with his own personal sensibilities, paying homage to the history of the silver screen and winking at the audience members in on the nods. The film which gained him the attention of Spielberg, eventually earning him the Gremlins gig, was The Howling (1981), a low-budget horror flick with a bit more on its mind than most. It represents one of those under-seen films, the kind that you feel pleasantly surprised to discover. Released the same year as An American Werewolf in London, The Howling swiftly fell off audience’s radars in favor of the similarly themed film. Fortunately, hindsight allows us a chance to consider this film and its place within that most hallowed of genres: the werewolf movie.

The film commences with a somewhat odd set-up, playing out more like a police procedural than a horror film. News anchor Karen White assists the police in capturing a serial killer who had been preying on the homeless. Her role in apprehending the killer proves quite traumatic, leading Karen to experience intense nightmares. Needing a rest, her psychiatrist suggests she head to The Colony, his own clinic away from the trappings of civilization. Once at the clinic, however, strange events lead her to believe that her life may be in danger. From there the film paces itself fairly deliberately, slowly revealing the scares and setting up a sense of atmosphere.

The Howling may contain its share of scares, but a streak of black humor also carries on throughout the proceedings. Aiming for more sly moments of amusement than laugh-out-loud jokes, the film will play better for those who know the genre best. For instance, Dante and company decide to mess with the typical rules associated with werewolves, leading to a humorous scene with an occult book store owner as he discusses his theories on dealing with the creatures (“They’re worse than cock-a-roaches,” he says). Also undermined is the archetypal portrayal of the werewolves as sympathetic, instead depicting them mostly as bloodthirsty beasts who have few qualms with luring unsuspecting people as prey. This switch leads to some sinister moments of humor as the werewolves discuss hunting habits and encourage others to join them. And those especially in-the-know will notice some werewolf-related visual puns as well as small references to werewolf films past, such as the fact that many character’s names are those of old horror film directors.

To fill out the cast of characters, Dante called upon old character-actors like John Carradine, Slim Pickens, Kevin McCarthy, and Dick Miller, further illustrating an appreciation of film history by the filmmaker. It’s a real pleasure to watch these actors go to work. They’re experienced pros who know the exact tone the film calls for. As for the leads, each one performs adequately for what is required of them. Dee Wallace portrays Karen with an equal amount of sympathy and paranoia, making her a character that we care about following. A special mention should go to Robert Picardo who plays the mysterious Eddie, a patient at The Colony who provides the film with some of its creepiest moments. As with anything else, the actor’s performances work to enhance the other filmic elements at play to create just the right tone.

The level of craft behind the film has gone undervalued. In fact, I would go so far as to say that the scenes of transformation in this film nearly rival the innovative effects in An American Werewolf in London. As in London, practical effects were utilized to portray the change from human into beast, resulting in a more visceral feel than past films supplied. The transformations exhibit a great level of pain for the creatures as bones bend and curve to their wolf forms. And, once again, I think this film represents another case in which a low budget forced the crew into becoming more creative. For a majority of the film you only receive glimpses of the monsters, a tactic which assists in building up the tension. That way, when the creatures do appear in full view, all the built-up tension delivers as the audience has already developed a fear of them.

Thematically, the film plays out the usual dilemma of a werewolf story: the struggle between being civilized and letting animal impulses take over. The Howling manages to convey this standard idea interestingly, modernizing it to include aspects of media, self-help groups, and marital fidelity. The opening of the film frames the central conflict effectively by focusing on the words of a psychiatrist as he speaks about repression as “the father of neurosis, of self-hatred” and how people should return to more base instincts. Though not at the forefront of the film, these facets remain in the margin for those who wish to explore them. Not many horror films can be enjoyed on multiple levels like this one and for that I’ll give credit.

The Howling may not represent groundbreaking cinema, but it offers solid entertainment. Those with a taste for the genre shouldn’t be disappointed as there’s plenty to pick up on and enjoy. With this film Joe Dante may not have gained the attention of the masses at the time, but some people (like Spielberg) took notice. Now maybe a few more will give it a shot.

First Look At The A-Team

The first official photo from the production of the new A-Team movie has been released, giving us a glimpse of the four leads. I'm not exactly what tone the film will take on, but if this picture gives any hint, the filmmakers will hopfully stick to the spirit of the TV series. They certainly have the looks to the characters down, slightly modernized, of course. The film stars Liam Neeson as Col John ‘Hannibal’ Smith, Bradley Cooper as Lt. Templeton ‘Faceman’ Peck, Sharlto Copley as Capt. ‘Howling Mad’ Murdock, and Quinton ‘Rampage’ Jackson as Sgt Bosco ‘B.A.’ Baracus.

This film will depend heavily on the camaraderie between the leads. If they succeed in that department, then half the work is done. It's been awhile since we've seen a decent buddy-cop type of film and this could definately fit the bill. While The A-Team isn't among my favorite shows of all-time, I have fond memories watching reruns of it when I was a kid. It had a great mix of comedy and action, something you don't see as often today. I'll be looking forward to viewing a trailer to see how this project develops. Right now, a June 11, 2010 release date has been set, so stay tuned for more updates.

Trailer: The Wolfman

With Halloween almost upon us, what better way to get in the mood than watching the latest trailer for the remake/reboot of The Wolfman? Starring Benicio Del Toro, Anthony Hopkins, Emily Blunt, and Hugo Weaving, the film tells the classic origin story of Lawrence Talbot, cursed to become the infamous werewolf. Directed by special effects guy Joe Johnston, the trailer certainly is a feast for the eyes, with plenty of transformation shots and glimpses of the wolf in action. And, I must confess, I have a hard time resisting a cast like this. Del Toro seems like a perfect choice for the lead. There's something primal about his look that lends itself well to the titular role. Although reshoots and delays on this project keep me skeptical, I'm still hoping that we get a decent, fun throwback to classic horror when The Wolfman is unleashed in theaters on Feb. 12, 2010.

Check out the trailer below:

http://www.youtube.com/watch?v=PVKyeMQcUNY

Mini-Review: Duplicity

Tony Gilroy, writer/director of Michael Clayton, constructs something unique with his latest film, Duplicity. Starring Clive Owen and Julia Roberts, Duplicity comprises itself of equal parts romantic comedy and espionage films. Gilroy’s screenplay, while intricately constructed, may become too labyrinthine in its twists and turns for some people to follow. Luckily the real joy of the film doesn’t depend on following every little detail thrown in front of you. Instead, the real pleasure comes from the relationship between the main characters, two spies who decide to team up for an ultimate score. All the while, they play cat-and-mouse games with each other as neither one completely trusts the other.

This film reminded me of something like Charade; the kind of film that doesn’t get made much nowadays. Some of the exchanges between Owen and Roberts recalled the quick-fire dialog found in an old screwball comedy. And although I bring up these older references, Duplicity is thoroughly modern in its subject matter. The film takes a satirical look at corporate greed, bringing things to the most extremely ludicrous level.

In short, it’s a smart film, made for adults.

A Wild Weekend At The Box Office

While I typically won't talk box office numbers too often on here, I thought this weekend provided some interesting results. Spike Jonze's Where The Wild Things Are achieved the #1 spot as most people thought it would, earning an estimated $32.5 million. This represents a solid opening for the big-budget art film, which had been plagued by some very public post-production troubles. It's nice to see a major studio take a gamble on what ultimately is a very personal film and one that won't appeal to everyone. Any time a movie like this can succeed, it gives me hope that more projects along these lines can be made.
Meanwhile, the Gerard Butler starring Law Abiding Citizen came in at #2 with a solid $21.3 million, proving once again that Americans have a thing for blood-lust.
The real surprise of the weekend was the #3 spot which went to Paranormal Activity, the independently financed horror film. Expanding to only 760 theaters the film grossed an estimated $20.2 million, representing an incredible achievement for the $11,000 budgeted project.
Rounding out the top 5 were Couples Retreat at #4 and The Stepfather at #5.

Ferrell To "Go" Dramedy

After his next collaboration with Adam McKay on The Other Guys, which is currently shooting, Will Ferrell has signed on for a low-budget indie comedy called Everything Must Go. Based on a short story by Raymond Carver, the project represents the directorial debut of commercial director Dan Rush. The script was recently featured on the Black List, a list of Hollywood's best unproduced screenplays. Variety gives a quick description of the film:

"Ferrell will play a guy who loses his job and gets locked out of the house by his wife. She deposits his belongings on the front lawn, and he spends the next four days trying to sell his possessions."

I'm glad to see Will Ferrell attempting to branch out, mixing his mainstream films with something like this. Audiences have seen him do the dramedy thing before with Stranger Than Fiction, and hopfully this film will push him even further down that road. Some people may laugh, but I think Ferrell has a great performance in him. Whether or not this film brings it out remains to be seen. Regardless, though, I'll be pulling for him.

Horror Fest '09: The Lost Boys

The Lost Boys combines the horrific and the comedic in a way that only the 1980’s could produce. Director Joel Schumacher effectively updates the style and demeanor of vampires to fit the era. In fact, the film instantly becomes defined by the time in which it was made – from the clothing and hairstyles to the punk-influenced attitude. Although perhaps the style inadvertently sticks out for today’s audiences, The Lost Boys fortunately has more going for it than a bunch of hair gel.

Our story begins as divorced mother Lucy and her two sons, Michael and Sam, move to the small town of Santa Carla to get a fresh start. Little do they know that strange disappearances and killings regularly occur in the city, prompting some to dub Santa Carla the “Murder Capital of the World.” Despite such a dubious label, Michael and Sam quickly familiarize themselves with the area, hanging out on the boardwalk where many young people gather. Unfortunately some shady characters also explore the area with great interest. When Michael, the oldest boy, locks eyes with a girl named Star, trouble soon follows. As it turns out, Star associates with the shady bunch who patrol the boardwalk, headed by David (Kiefer Sutherland). Soon enough, Michael unwisely attempts to fit in with these new acquaintances, leading to a truly bizarre night that he can’t quite remember. Sam soon begins noticing unnatural changes to his brother (sensitivity to light, floating in mid-air, a thirst for blood, etc.) and the remainder of the film essentially focuses on getting Michael back to normal. Along the way, the film throws in plenty of jokes to balance out the horror aspects, as well as a few twists and turns dealing with vampire mythology.

While the story contains some interesting ideas, some aspects come across as clunky. The romance between Michael and Star, for example, barely develops and yet it becomes the catalyst responsible for launching the story forward. With the main thrust of the story lacking an adequate amount of depth, the overall stakes of the film aren’t as high as they could have been. The villains aren’t especially well-developed either, coming across as interchangeable and underdeveloped (except for Sutherland). Often times in horror films, a lack of knowledge of the monsters will benefit the effectiveness of the story. But with vampires, one of the few monsters who spend a significant amount of time mingling and associating with the living, I think a tad more character development is in order. These flaws by no means derail the film, though. In fact, The Lost Boys succeeds on several levels.

The film works most effectively in its tone. From the opening shot we get a strong sense of foreboding as an image of a nighttime boardwalk accompanied by an eerie song fills us with unease. Joel Schumacher and crew create a real sense of place that adds to the creep-factor. From empty parking lots to abandoned caves, the set-ups for scares put you in the scene. But, at the same time, the film switches smoothly between its creepy set-ups to humorous one-liners. The fact that it maintains this shifting tone throughout becomes the most impressive feature of the film.

The cast proves serviceable given the material. Kiefer Sutherland gives an effectively creepy performance as David, the lead vampire. Between this film and his bit in Phonebooth, I’m convinced this guy should play more villains. Jason Patrick probably has the most challenging role, switching from typical teenager to a psychologically tortured half-vampire, a change that he captures with skill. Corey Feldman and Jamison Newlander provide the film with a majority of its comedic relief as two comic book store employees who know a thing or two about dealing with vampires. It just goes to show that a vast knowledge of comics could potentially save your life; a comforting thought for all those collectors out there, I’m sure. Perhaps the unsung heroes of the cast would include performances by adult actors Dianne Wiest and Edward Herrmann as they provide a sense of balance against the adolescent performers.

All in all, I’d say The Lost Boys represents a solid entry in the sub-genre of vampire flicks. While the climax builds up to a pretty paint-by-numbers ending, there’s plenty of fun along the way. It’s already become one of those time-capsule films that couldn’t really be made anymore, at least not in the same spirit. For better or worse, they just don’t make them like this anymore.