Thursday 24 February 2011

Dawn of Evil: Rise of the Reich DVD Review


Release Date – 28th February 2011

Certificate (UK) – 18

Country – Germany
Director – Urs Odermatt
Runtime – 105 minutes
Starring – Tom Schilling, Anna Unterberger, Gotz George, Wolf Bachofner

Seeking to explore Hitler’s pursuit of a career as an artist and his time in Vienna pre-politics, Dawn of Evil provides little more than an unrewarding, unengaging and often laughable insight into the dictator’s formative years.

A young Hitler (Tom Schilling) arrives in Vienna in a bid to enrol at the Academy of Fine Arts. He moves into a predominantly Jewish boarding house and this, coupled with his humiliating rejection from art school seemingly fuels his growing anti-Semitic rage. Angry and disillusioned, Hitler falls in with a group of militant German nationalists before setting his sights on blonde beauty Gretchen (Anna Unterberger). Successfully prising her from the aged grip of Jewish roommate Schlomo Herzl (Götz George) and acknowledging his ability to convince her of his newly established beliefs, Hitler realises his calling to politics and assembles a gang of followers.

Technically the film cannot be faulted- it is well shot with some strong performances from its cast. Tom Schilling is particularly impressive throughout, striving to offer a more three-dimensional glimpse into the inner-workings of such a contentious character. Unfortunately his ability to do this is hindered by inadequate character development- it appears Urs Odermatt is attempting to offer a more humanized Hitler, but ultimately Schilling’s character is just not strong enough to contradict common opinion and understanding as Bruno Ganz portrayal succeeded to achieve in 2004’s Downfall. Historical inaccuracy is laced throughout the film and reaches a staggering climax in delivering the blow that Mein Kampf was in fact a book written about Hitler by acquaintance Schlomo.

It’s unfortunate that Dawn of Evil’s script fails to maintain the standard set by its cinematography and acting. A suitable means to switch between humorous and intense scripting is never established and the result is a messy and unintentionally tongue-in-cheek film. Historical inaccuracy devalues the film further and subsequently it fails to offer anything more than a well-deserved stepping-stone in furthering Schillings career.


Wednesday 16 February 2011

In Their Sleep DVD Review

Release Date (UK DVD) – 14th February 2011

Certificate (UK) – TBC
Country – France
Runtime –84 mins

Director – Caroline du Potet, Éric du Potet
Starring – Anne Parillaud, Arthur Dupont and Thierry Frémont

Sarah’s life is crumbling around her. Excellently played by Anne Parillaud, we see the middle aged woman grieving the recent accidental and untimely death of her son and the subsequent collapse of her marriage. Abandoned by her husband and left in her large and desolate country home she is unable to sleep and forget the recent misfortunes fate has dealt her. Driving home from work one evening she almost hits a disheveled and blood-saturated young man, Arthur (Arthur Dupont). Racked with guilt she assures him that being a nurse she can help dress his wounds and starts the drive back to her home. Arthur is scared for his life after a bloodthirsty intruder entered his family home and is pursuing him to cover trace of his actions.  The duo is followed back to Sarah’s home, where the murderous assailants relentless intent reveals a tragic story of loneliness, revenge and evil.

Siblings Caroline and Eric du Potet’s feature debut succeeds in building both tension and suspense, boasting an emotion packed insight into love, loss and grief through the eyes of both victim and criminal. Well-crafted and thoroughly spooky, In Their Sleep is an extremely well shot and well-paced accomplished piece of filmmaking. The films conclusion bids farewell to previous scare-tactics and filters into a tale of tragedy and sadness, creating an unexpected but nonetheless effective twist in its pacing. The quality of acting is consistently strong with its engaging and emotive qualities being testament to excellent performances from both Parillaud and Dupont. In Their Sleep is a low-budget, beautifully European gem amidst a sea of blockbusting American mediocrity and for that reason a very worthwhile watch.



Sunday 13 February 2011

The Open Door DVD Review


Release Date (UK DVD) – 14th February 2011
Certificate (UK) – TBC
Country – USA
Director – Doc Duhame
Runtime – 94 mins
Starring – Catherine Georges, Mike Dunay, Sarah Christine Smith, Daniel Booko, Ryan Doom

Teen horror flick The Open Door tells the story of Angelica (Catherine Georges), a coy high school beauty with overprotective parents. When they grow anxious about the company their daughter is keeping Angelica is grounded, and as a consequence is unable to attend the biggest high school party of the year. Home alone and awash with adolescent hormones she tunes into a pirate radio station and makes an emotional plea to its host The Oracle begging to be freed from the overbearing grip of her parents and to be left alone in order to profess her love for Brad (Mike Dunay).

At this point the plot rapidly spirals into a twisted tale of traditional scare tactics, possession and murder reminiscent of a feature length episode of Goosebumps for grown ups. It failed to shock or terrify, but like Goosebumps takes an audience on a darkly dramatic journey entertainingly fuelled by urban legend and teen angst. Despite being a low budget production and lacking particularly charismatic or qualified actors, The Open Door manages to entertain throughout and offers some imaginative, original and genuinely creepy qualities. A deserving award winner then, scoring Winner of the Audience Choice Award at the LA Shriekfest and Best Feature Film at Horror UK.

It’s unfortunate that The Open Door’s production is likely to hinder its popularity, but this directional debut should secure Doc Duhame a promising reputation. By no means groundbreaking but The Open Door offers enjoyably uncomplicated entertainment.


Tuesday 18 January 2011

Choose DVD Review

Release Date (UK DVD) – 17th January 2010

Certificate (UK) – 18

Country – USA
Director – Marcus Graves

Runtime – 100 mins

Starring – Katheryn Winnick, Kevin Pollak, Richard Short

Choose- the new Saw?

Choose follows Fiona Wagner (Katheryn Winnick), an aspiring news reporter who becomes entangled in a web of deranged crimes spreading throughout her suburban city. A psychopathic killer is forcing his victims to choose their fortune; a child must choose between the life of her mother and father, a pianist between his ability to hear and ability to play. Fiona begins to receive threatening pop-up messages on her laptop and it’s clear for whatever reason the madman seeks her involvement.

She turns to her father Sheriff Tom Wagner (Kevin Pollak), and together they attempt to unravel the bizarre motive behind the crimes. As Fiona delves into her research on choice theory she recognizes the terminology with regret and begins to question her mothers suicide.

What struck first is the originality and strength of the films concept; Choose is essentially an age-old playground game. In the same vein its opening scene actualizes an inherent childhood fear: the choice between mum and dad. It is for this darkly playful quality that the film has unsurprisingly received mass criticism for its thematic similarities to the Saw films, but fortunately Choose felt relatively fresh and unfamiliar.

Unfortunately, the acting was a little hit and miss. Winnick’s performance was somewhat lack-lustre and wooden, failing to win audience empathy, but undoubtedly serving its purpose as eye-candy. Even Pollak appeared depressed and disinterested.  The sloppy script was occasionally cringe inducing, often inconsistent and without a sense of humour.

It’s a great shame then that in a genre where new and exciting concepts are so thin on the ground this film almost frivolously squanders its promise and originality. Significantly less formulaic and predictable than other dross dominating modern horror but, rather frustratingly, Choose is by no means groundbreaking. 


Published on thefilmpilgrim.com

Monday 3 January 2011

The Last Exorcism DVD Review

Release Date (UK DVD) – 27th December

Certificate (UK) – 18
Country – USA

Runtime – 87 mins
Director  - Daniel Stamm
Starring – Ashley Bell, Patrick Fabian

Believable acting, gripping suspense, and well-timed humour…so what went wrong?

A faux documentary, The Last Exorcism’s primary character is Reverend Cotton Marcus- a faithless preacher with an agenda to expose the exorcism process as nothing but a placebo to the affected. After receiving a plea from the distressed god-fearing Sweetzer family in Louisiana, we follow Reverend Cotton and his two-man crew through the haunting and desolate landscape of the Deep South. He arrives and meets teenager Nell, and after a short diagnostic process assures her family that an exorcism will be required. He prepares her bedroom with candles, bibles and suchlike whilst throwing in a few of his own touches, complete with a hidden ipod wailing demonic sounds and a cleverly engineered ‘steaming’ crucifix. This prefabricated and humorous ceremony convinces both family and Nell that she is no longer ‘with demon’ and showman Cotton counts his money and leaves.

His cocky attitude and charisma create great suspense as the audience excitedly anticipates the rug being pulled from beneath him. And when Nell unexpectedly turns up in his motel room after dark we get an inkling of what lies ahead…a blood-soaked series of scary night-time attacks by the pale and disturbed shark-eyed adolescent.

It’s after this that all the cleverly mastered, slow building and restrained suspense diminishes and the film rapidly spirals into a clichéd montage of horror genre rip offs. Concluding with a no holds barred ending enhanced with special effects I’m left angered by the films rejection of its previously well crafted subtle restraint and super-natural themes, and its decision to conform to the modern horror genre’s tendency to reveal all. It was film critic Ivan Butler’s belief that true terror remains in the unseen, inviting ones own imagination to fill in the gaps. I suspect in the case of The Last Exorcism any self-made conclusion would have been far more haunting than the version Daniel Stamm and Co fed to me.

Seemingly a modernised Rosemary’s Baby, the film failed to deliver an original or clever resolution, and leaving me with a bitter taste in my mouth I conclude it to be nothing more than a diluted Exorcist with a Blair Witch meets Paranormal Activity aesthetic. The Last Exorcism, like so many of its predecessors, fails to meet the standards set by Blatty in ’73 and forces me to question whether there is any new and exciting ground for the possession film to tread.

Despite this, the DVD offers an interesting and comprehensive collection of extras for any exorcism film enthusiasts. Featurettes “The Devil You Know: The Making of The Last Exorcism” and “Real Stories of Exorcism” make for worthy viewing, as do (rather unusually) the producer and director’s audio commentaries, which reveal the filmmakers acknowledgment of a strong audience divide at the films ending, most notably within European screenings. Bearing this and my own dissatisfaction in mind maybe an alternative ending would have proved valuable.


Published on thefilmpilgrim.com

Friday 3 December 2010

Erasing David Review (DVD)

David Bond’s much-hyped documentary ‘Erasing David’ offers a disappointing insight into modern methods of surveillance and ‘Big brother’ data storage.

Inspired by 2007’s child benefit data leak, Bond decides to investigate just how much information private companies and the government hold about him. To do so he intends to disappear for thirty days, leaving behind his young child and pregnant wife, and hires top UK private investigators to see how much material they can unearth in order to track him down.

In the case of Erasing David the question asked is so much more intriguing than the answer. Bond and the investigators lack a level of charisma that is necessary in a documentary so involved with so few characters. Whilst he resists condescending and smug tones rife within the genre (think Morgan Spurlock) he fails to compel, his unsupportive wife often succeeding to annoy.

Whilst on the run Bonds haphazard activities display frustrating lack of thought- he opens emails sent by the investigators and uses his blackberry, allowing his whereabouts to easily be traced. From such naivety he quickly transforms into a state of manic paranoia, hiding in woods complete with shaky hand-held camera à la Blair Witch. The rapid transition between these two characters arouses suspicion this chase is far more contrived than Bond is letting on and for me this buries any objective value this ‘exposé’ initially held.

Undoubtedly anyone interested in learning more about ‘the system’ will want to see this film; it’s a strong concept and there are some memorable interview clips with experts and victims of life-altering government admin mishaps. Unfortunately, despite a few small (inconsequential) reveals, Bond fails to teach much beyond the familiar. Erasing David is essentially a low-budget chase movie with a light sprinkling of politics. Expect more and you’ll feel duped.

Erasing David’s substantial menu of DVD extras include ‘Cinema Premiere Debate’- a Q&A session between cast members and Bond, extended edits of interview footage, and general outtake scenes. 





Published on thefilmpilgrim.com

Monday 22 November 2010

Zombie Driftwood Review

Certificate (UK) – 18
Country – UK
Director – Bob Carruthers
Runtime – 80 mins
Starring – Brian Braggs, Rita Estevanovich and Peter Kosa

Zombie Driftwood, a new low-budget British comedy produced by Sundance Festival 2010 award winner Dave Mcwhinnie and directed by Emmy Award winning filmmaker Bob Carruthers, is a surreal combination of zombies, paradisiacal beaches, heavy metal music, Hitler, beer and bagpipes. Growing suspicious of the ubiquitous Shaun of the Dead comparisons zombie comedy reviewers tend to make I purposefully avoided reviews, going only on the premise that it featured zombies, and would be funny. Unfortunately only the first assumption was correct.

Set in the Cayman Islands, Zombie Driftwood is the story of a group of holidaying metal fans who find themselves under attack after passengers of an American cruise ship are mysteriously transformed into zombies. Turning the local bar into their safe haven, they realise in Romero-esque tradition that despite their lack of heartbeat, the cruising tourists are still fuelled by capitalism and wish only to continue their holiday. Whilst the un-dead get drunk and purchase metal t-shirts the government introduces zombie rights, and forbids their murder.

Whilst the humane treatment of the zombies proved an original addition, Zombie Driftwood was a difficult film to sit through. The acting and production was appalling- whether this was purposeful is indeterminable and seems irrelevant. There just weren’t enough laughs to ensure that the viewers and filmmakers were on the same page, and as a result the tongue in cheek delivery proved unsuccessful. What may have made an intriguing three-minute skit was instead a prolonged and torturous feature film, an opinion seemingly shared by the numerous audience members that left early. A high audience drop-off point was a live band scene- effectively an October File music video-forcing me to conclude this film barely tolerable for metal or zombie fans and unbearable for anyone else. A film destined for short-term cult appeal.


Published on thefilmpilgrim.com

Tuesday 2 November 2010

Formalin's 'Bodyminding' Review

Berlin duo Formalin release debut album Bodyminding on 1st November with Out Of Line Music.

Selling themselves on the idea that they’ve created a new musical genre with this album is a bit of a farce- their self-proclaimed invention of new musical type ‘Berlin City Industrial’ unfortunately fits the standard and predefined electro-industrial genre all too snugly. That’s not to say the music’s bad…but let’s be honest. Sounding like a modern electro Skinny Puppy, they’ve won appreciation from Mexican aggrotech pair Hocico and have been invited to support them on their upcoming European tour.

Kicking off with ‘Fallout’s pulsating intro, Bodyminding’s big sound and good production strikes immediately. Give or take some film samples, slower melodic moments and memorable tracks ‘Yuppiescum’ and ‘This Isn’t Love’, the album charges through without much diversion from standard EBM programmed drum beats and snarling, distorted vocals. If you’re a fan of Skinny Puppy’s Ogre and like the idea of combing Mentallo and the Fixer's experimental approach with Hocico’s heavy drum beats then Bodyminding is an album for you. Already signed with Universal and about to tour, it seems Formalin are destined for success. Watch this space. 


Published on sonicshocks.com

Monday 1 November 2010

Jameson Cult Film Club- Psycho at Union Chapel Review


Last night Islington’s Union Chapel housed Jameson Cult Film Clubs screening of Hitchcock classic Psycho, as part of its Chills in the Chapel Halloween event.

Not able to conceive a better location for watching one of my all time favourite films, I was concerned about the locations underwhelming entrance. Scaffolded, with just a small neon ‘Motel’ sign, I wasn’t entirely sure I was in the right place. But as I entered, greeted by retro clad usherettes distributing free drink vouchers and Anthony Perkins look-a-like, all concerns dispersed and I was grinning like a child. Spooky green and red-lit spires, an orchestra playing the films score and flowing free cocktails set the mood perfectly and the buzz in the air assured me I was amongst fellow Psycho appreciators. After the difficult task of finding a seat (pew) in a church at full capacity, the lights dim and by candlelight we are treated to a re-enactment of the famous shower scene. The crowds roar of applause led to me to wish for more of these touches, but for a free event one mustn’t complain.

Psycho starts as a story about Phoenix office worker Marion Crane, who, unhappy with her lot, steals $40,000 from her employer and heads towards her lover Sam in Fairvale. Caught in a storm, she pulls in at the Bates Motel to be greeted by Norman Bates. Norman is attracted to Marion and we hear his mother, who he lives with in a creepy old house overlooking the motel, chastise him for this. In one of the most famous and well-shot scenes in film history, Marion enters the shower and is murdered. The murderers silhouette suggests a female, but as this psychological thriller unravels not all is what it seems, with themes spanning confused identities, Oedipal murder, privacy and voyeurism.

The grandiose setting adds a certain poignancy to the films script and I find myself, despite having seen this film countless times, noting new qualities to its lines. The atmosphere in the bar afterward assures me this event has been enjoyed collectively, and I’m already hoping its success inspires a similar event for next Halloween.


Published on thefilmpilgrim.com

Saturday 30 October 2010

Sinocence Review

Released 1st November
Metalbox Recordings


Irish metallers Sinocence release a special edition of Scar Obscura on November 1st to coincide with their upcoming UK tour. Knowing that they’ve supported the likes of Machine Head, In Flames and Lacuna Coil and that this re-release is a self-financed act following a break from Rising Records, Sinocence are clearly doing something right. Having never heard of them I strip away the discs special features and look at the ten original tracks that were so highly revered.

The promise that ‘Scar Obscura is a must have for anybody with even a passing interest in heavy music’ seems an ambiguous selling point, but listening to the album it makes perfect sense. Opener ‘Perfect Denial’ is catchy, melodic and pleasant…until Moro’s ‘soaring, emotional’ lyrics kick in. Unfortunately his voice proved a persistent annoyance to me and affected my ability to listen to the rest of the album without wanting to rant about emo vocalists (whiners). I can appreciate that this style was not consistent; faster paced songs like ‘Metalbox’ or ‘Rule As One’ encouraged a more Rob Flynn-esque vocal input from the singer, granting me some welcome relief and an opportunity to listen to the music.

Scar Obscura is the vocally led meeting point between Metallica and Bullet for My Valentine; old school heavy metal thrash meets modern melodic/emo (whiney) metal. This seems to be the reason for its mass appeal and who am I to argue with that, I’m just far too familiar with the different elements that influence and make this album. No memorable riffs. Nothing to sink your teeth into. Metal for the masses.

Published on uberrock.co.uk