Review: Hannibal: Season 1, Episode 5 – Coquilles

(Spoilers!)

As we all know (or if not you can read about it here) Bryan Fuller unfortunately decided to forgo episode four of Hannibal this week. He has stated that this decision should not pose problems in terms of continuity although just in case, a mini web-series including snippets from the episode has been uploaded to the programme's official website. This swiftly brings us on to episode five, entitled Coquilles. In the words of Jack Crawford, “prepare yourself for this one” as it is quite possibly the most gory and emotionally-heavy installment of the series so far. 

As each week has progressed so has Will Graham’s profuse amount of sweating, resultant from his plagued psychosis of all things socio-pathic. Now sleepwalking has been added to the mix, which after meeting with Dr. Lecter, is thought to be a result of losing control or to cover up aggression. It’s true – Graham has in a way been manipulated into returning to work for Crawford. Lecter brings this up of course, as part of his slow but continual path in presumably pitting both against one another. Furthermore the boundaries between serial killer and criminal profiler are dissipating for Graham; he is increasingly becoming “too close”. Regardless, Graham struggles to think cohesively and therefore questions his abilities in remaining to work for the FBI (don't worry - he stays... for now.). Undoubtedly, failing to catch this week’s serial killer was a key instigator of this doubt. 

Okay - the mushroom fiasco from episode two was a pretty nasty affair. However, this week’s contender named the ‘Angel Maker’ was most definitely a tough opponent as he mutilated and displayed his victims to form praying angels. This enabled the episode to showcase arguably its most gory and disturbing imagery, yet retained that ever-present visual flare that somehow makes each relevant frame captivating enough to form a piece of art. Graham profiled the ‘Angel Maker’s motive as protection – he had a brain tumour and was afraid of dying in his sleep so created guardian angels to watch over him (something also linked to a childhood trauma of his). Eventually he mutilated himself into an angel, embracing death and beating Graham to his arrest. As always, the serial-killer-of-the-week is a narrative device, a catalytic mechanism to characteristically develop our key protagonists. This week was no different as, not only did he throw Graham off course, but the ‘Angel Maker’s back story of a brain tumour also linked to Crawford’s discovery that his wife had cancer . His revelation provided the episode with its most emotionally-heavy subject matter (and a moment of brilliant acting by Laurence Fishburne). Just in time, as Crawford's character development was almost non-existent up until now. Topic aside, it was great to finally see a more emotional side to him in dealing with such heavy personal issues. 

Lecter, therefore, was situated in the background this week, although still managing to shine (and showcase an impressive sense of smell) when he has Crawford and his wife to dinner. The food he delivers looks exquisite and is consequently shot in food-porn territory. However it’s a clever little trick as we continuously question the ingredients, further emphasised by the tantalizing dialogue exchanged. When Crawford’s wife alludes to being a vegetarian, Lecter insists that all of his meat is from an “ethical butcher”, someone who is kind to the animal before eating it. “I’m afraid I insist on it” he says, as if to give a massive wink to the audience. It’s a true credit to the cast and crew that short sequences such as these can even carry the whole episode if needed. 

Not that it is needed however, because as usual, another week - another stellar episode has passed, leaving us hungry for more. Subject matter was particularly heavy, whether it was Graham battling with his psychological demons or Crawford and his wife facing those of a more cancerous nature. It was dealt with in a smart, well-written and strongly performed manner forever keeping our eyes peeled and ears open. Just in case solid drama was not enough however, the show’s gory crescendo managed to reach a new level, once again showcasing how tough imagery can be constructed in an eerily compelling way.

What were your thoughts on this week's episode? Post a comment! 

News Round Up! Scream, Monster, Thor and More...

In the world of television two big announcements have been made this week. First, the film franchise Scream, directed by Wes Craven, has been picked up by MTV who have signed off on a one hour pilot. Rumour has it that Craven may also direct the first episode. I imagine that Scream, a tongue-in-cheek satire of the slasher genre, may work well as an MTV serial. It probably won’t be hard hitting or edgy, but instead a bit of trashy, easy-watching fun, rife with teenage drama and promiscuity. Cynicism will undoubtedly underline some horror fans’ response to this franchise development, but in my view the first film was the only decent installment anyway. I guess what I’m trying to say is that MTV - you go for it, because really... it can't get much worse. 

Almost on the complete opposite side of the spectrum is the announcement that Guillermo del Toro is helping to adapt the Japanese manga and anime series, Monster, for HBO. Production is at its earliest stage and the pilot episode has not even been given the green light. Nevertheless it’s an incredibly exciting prospect, especially if del Toro is chosen to direct. Really hope this goes ahead as it could well turn out to be something magical. 

Developments on Dr. Hannibal Lecter and co. have also come in to fruition this week. It turns out episode 4 of Hannibal’s first series was in fact entitled Ceuf. Bryan Fuller chose not to air this episode due to the current socio-cultural climate in the United States. His full explanation can be read here. The episode involved a group of missing children who were brainwashed into killing their families. It also following the blossoming but bizarre relationship between Dr. Lecter and Abigal Hobbs. Fuller has expressed, however, that missing this episode will not pose continuity issues for viewers. Regardless, he has provided snippets from the episode, with directors commentary, forming a somewhat mini web-series. It is available on the official website but unfortunately unavailable to those overseas (aka me). So instead it's business as usual and stay tuned for the upcoming review of episode 5 entitled Coquilles.

In the world of film there have been two trailers and two releases this week that are worth mentioning. First up is the red band trailer for Hatchet III, which you can catch below. 

The film continues the tale of the villain Victor Crowley, as a search and recovery team head into the haunted swamp to clear the bloody mess left from the first two installments of this trilogy. Obviously carnage ensues in a wickedly gory and entertaining way, involving chainsaws, bazookas and er... balls. Nothing ground-breaking or particularly horrifying but just a good bit of fun. Hatchet III is due for release June 14, 2013

The biggest trailer to be released this week however is for Thor: The Dark World. You can catch it below...

It’s a shame Kenneth Branagh is not returning to direct, but fear we musn’t as Alan Taylor (of Game of Thrones, The Sopranos and Mad Men fame) is instead taking the directorial position. Furthermore all our favourite cast members such as Chris Hemsworth, Natalie Portman, Anthony Hopkins and Tom Hiddleston, are returning. Christopher Eccleston also stars in a nice piece of casting, as the vengeful Malekith whose Dark Elves plague Thor and Asgard. It looks to be quite the action packed sequel and is due for release 30th October, 2013.

The two big releases this week are Iron Man 3 and Rob Zombie’s The Lords of Salem. Will hopefully see both soon so stay tuned for reviews in the coming week. 

Review: Hemlock Grove

(Spoilers!)

Surrounding the drip-fed promotion of Hemlock Grove, in its preceding weeks before official release on Netflix, my main concern was the series would be cheesy teen drama, a somewhat hardened version of the Twilight franchise perhaps. Turns out I needn't had worry because instead, the series suffers with far greater issues. Soppy teen drama would have been preferable over the non-cohesive nonsense that was instead the case. My initial reaction to the series after the first episode (which can be read here) very much remains representative of the whole series. Although now, after viewing it in its entirety, the feelings of discontent are much stronger. 

To recap, Hemlock Grove follows the town’s inhabitants in a supernatural and twisted game of Cluedo. Everyone from lowlife-gypsy-werewolf Peter to the wealthy Godfrey family are on a mission to find the four legged creature responsible for the disembowelment of several teenage girls. Horror clichés plague the screen in abundance, from werewolves, vampires and ‘slutty’ girls to scientific experimentation and magic. All of this wouldn't be a problem, if it had formulated a strong, cohesive and compelling plot. Instead, however, Eli Roth and co decided to forego the essential ingredient of serial formatting and figured that enough gratuitous shots of sex and drugs would make up for it. C’mon now, give your audience a bit more credit. 

The whodunit element of the narrative doesn't really progress, not until the penultimate episode anyway, and by this point all sense of momentum or intrigue is lost. Confusion is also high from previous incoherent mumblings on dragons, ouroboros and folk tales that make you constantly question “who are they... what are they... what is this shit that I am watching”. It is clear Mr Roth and co wanted to go a bit intellectual or ‘out there’, but in there blatant try-hard attempt, they forgot the basic components of storytelling.

This, of course, had detrimental effect on the characters. All of whom, we know nothing about and are so unlikable you feel no sense of empathy when something devastating happens. The only character you may feel something for is Shelley Godfrey, a giant, deformed teenage girl bullied and abused by her mother. Any notion of sympathy is immediately devoured however, when she is placed in a long shot and all of a sudden turns into Hilary Devey. 

There are many deaths and admirable moments of martyrdom which I’m sure were intended to tug on the heart strings, but as hard as the show will push its melodramatic score, there will never be enough violin strings to enforce empathy on characters we don’t even care for by the series finale. Apart from a few shining moments of young boy comradery between Peter and Roman, each performance within the series is equally uninspiring. This is a shame as there are a few reputable names in the mix who you know are capable of better. Perhaps their performances were hindered by the awareness of the shows stupidity and awful script, which manages to boast lines such as “Your smile makes flowers grow and your tits make them bloom”.... sigh.

I suppose you’re asking, why bother sticking with it all then? Well truth be told, there were some good elements. The werewolf transformation scene remains a particular highlight and other fleeting moments of gore were pretty intense and impressive. Clementine’s slaying of a pregnant-werewolf-lady in a jail cell was effectively done, as was the slow build up to the eventual disembowelment of two teenage girls. Furthermore, I had stuck with it through the hope for a mind-blowing ending, in which all would be explained, the murderous culprit would be caught out and I’d realise that this show was, in fact, incredibly clever. Of course, that wasn't the case. 

The whole solve-the-murder narrative is ultimately rendered a moot point as the culprit confesses anyway (its Christina, the quirky non-blonde teen). This then progresses into a werewolf-come-husky showdown resulting in the death of Christina but survival of Peter (the ‘good’ werewolf), the excuse for which is some cheesy parable on life and love. Don’t even get me started on the bacon grease and Vaseline debacle. Bottom line is that you can’t have a character smear that on their face in a moment of peril and expect to be taken seriously. Yes you read that right.

The revelation that the Godfrey family are vampires, whilst I’m sure was intended as a mind-blowing surprise, wasn't one. You could see that coming from about episode three as Roman’s obsession with blood developed into icky territory. Other characters were killed off or swept under the proverbial rug and the finale ended with what I’m guessing was a cliff hanger. But you know what? I couldn't care less, and that is the complete opposite of how an audience should feel at the tail end of a 13 part series. Drained? Yes, but not in a good way. 

It was not all that long ago I was relatively excited about Hemlock Grove. I think it is safe to say, however, that Mr Roth and co did not “fuck up an entire generation”, but they did fuck up.

Have you seen Hemlock Grove? What were your thoughts on the series? Am I being too unreasonable? Post a comment! 

Review: Game of Thrones: Season 3, Episode 4 – And Now His Watch Is Ended

(Spoilers!)

This series of Game of Thrones has continuously proven its status as the epitome of quality television. Whilst the majority of each instalment includes a variety of characters walking places, with the occasional sword fight thrown in, it is the visual flare, quality dialogue and top notch performances that captivate us audiences each week. Episode four remains very much the same as each character trope is once again developed that bit further. However, you know that recurring feeling of expectancy? Of a moment or event that such development is undoubtedly building toward? Well let’s just say it has begun. 

Across Westeros, Jaime and Brienne continue to be abused and tormented by their captors, Jaime more so through a variety of trickery (horse wee anyone?). You have to admire his gusto, however, for attempting to fight back even in his handless and famished state. Something worth greater admiration though, is the development in Jaime and Brienne’s relationship, which has undoubtedly progressed into levels of compassion and care. One moment sees both characters sit by the fire and Jaime melodramatically declare he is ready for death. Brienne effectively tells him to 'man up' and eat something. He begrudgingly chews on a bread roll. It is a wonderful sequence and proves that in a time of peril they have become closer - a surprisingly touching motif. 

Elsewhere, Theon is fooled by his ‘rescuer’. Believing to be escorted back to his sister, he is instead taken straight back to where he was tortured – his father’s castle. This roundabout journey provides a moment of discourse in which Theon shows remorse for his actions (primarily the murder of two orphans) and effectively admits a latent desire to be a true Stark boy, but disparagingly knows this will never be the case.

We briefly touch upon Arya and her journey with the Brotherhood without Banners. Herself and Gendry are taken to their secret cave and meet the leader, Beric Dondarrion. He accuses Hound (their captive) of being a murderer, but charges cannot effectively be proven so a sword fight to the death is settled upon.

The Nights Watch at Craster’s Keep continue to moan and deploy bitterness at Craster, who has appointed them slaves and withdrawn any sense of hospitality. Just when you thought this act was beginning to get a bit tedious, members of the Nights Watch speak up and Craster is brutally murdered, in addition to the Nights Watch leader. It is a welcomed uprising and a refreshing portrayal of the Nights Watch who up until this point have not proven to be a particularly threatening group.

In King’s Landing, Tyrion is keen to get to the bottom of his attempted assassination at the Blackwater battle. He seeks advice from Lord Varys, who in turn offers a personal parable describing his own tale of revenge, the conclusion of which alludes to a “good things come to those who wait” sentiment. Elsewhere, Lord Varys seeks council from Grandmother Tyrell regarding the plans of Littlefinger. Until this point, his actions have been subdued, his presence almost non-existent. However, for the first time in this episode, we get a sense of the trouble that may lie ahead. Littlefinger has proposed a plan to help Sansa Stark escape King’s Landing. This, of course, is part of a greater and more selfish motive. If Robb Stark falls as King of the North, Sansa is next in line and this is something Littlefinger aims to be a part of. As voiced by Lord Varys, “He would see this country burn if he could be king of the ashes”. This moment of discourse is particularly captivating primarily due to the quality dialogue and strong performances. Although brief, the sense of threat is effectively translated. 

Margaery Tyrell is forever at her manipulating ways, feeding to Joffrey’s ego (he exudes minimal douche-ness this week) and courting friendship with Sansa. Cersei confesses her disliking of such actions to her father, Tywin, but does not receive the response she had hoped for. Once again, Charles Dance manages to steal a sequence with quality deliverance, perfecting the role of harsh and neglecting father. Compared to previous weeks, however, King’s Landing does not boast the episode’s top scene or most brilliant moment. That trophy is most definitely awarded to Daenerys and her actions in Astapor. 

Daenerys approaches Kraznys, dragon in tow, to partake in the agreed exchange. She hands over her dragon and in return, gets the golden whip providing mastery over the 8000 Unsullied. Once the deal is done, Daenerys tests her new powers in giving the first command to her newly purchased army. In doing so, she reveals she can in fact speak Valyrian. Whilst half expected, the impact of this twist was by no means less effective. In a pure moment of bad-assery, Daenerys commands her dragon to burn Kraznys and orders the Unsullied to kill every armed man in the castle. She instigates an Unsullied uprising. Proceeding this, she offers freedom to the Unsullied, declaring no one will be harmed if they wish to leave. Alternatively, she suggests they stay and fight for her but as free men. It is a risky move but one that ultimately pays off as each member of the Unsullied declare their commitment to their new leader. The episode thus ends on an epic scale (showcasing some top visual effects), as Daenerys marches off with three un-chained dragons and 8000 men in tow. You go girl. 

This week’s episode flew by, ever-proving the strength of the show’s strong dialogue and performances - each small taster per narrative strand shines. The fragmented character trope approach each week is also completely understandable, as the ten minute pay-offs on a sheer epic scale, as we have now sampled, are thus all the more impactful and effective. Things are definitely beginning to heat up and that feeling of anticipation is now increasingly stronger.

What were your thoughts on this week's episode? Post a comment! 

News: Another Dexter Teaser!

Another teaser has been released for Season 8 of Dexter. It’s short but sweet and basically reveals that Mr. Morgan will be very much back to his “vetting, stalking and killing” ways. Catch the clip below! 

(retrieved from Bloody Disgusting)
Dexter returns to our screens June 30th.

Review: Hemlock Grove: Initial Reaction

(Spoilers!)

Eli Roth’s Hemlock Grove has finally been released in all its glory (every episode is available now) on Netflix. Rather than doing a weekly episode review, I will most likely do an all encompassing report once I've finished the series. However after seeing the first episode, I feel I should deploy my initial response. 

For those of you who are unaware, Hemlock Grove is set in a Pennsylvanian steel town recovering after the brutal murder of a teenage girl, Brooke Bluebell. This dreadful crime spirals the series into a somewhat bizarre and supernatural version of Cluedo, comprising of werewolves, vampires, gypsies and incest. 

Our key players are the Godfrey family, featuring Olivia the matriarch, Shelley, her giant, deformed daughter and Roman, her spoilt, drug-taking and sexually promiscuous teenage son. The family are the wealthiest inhabitants of the town, living in a mansion and hiring out carnivals and such. On the other side of the class spectrum we have the Rumanceck family - Lynda and her son, Peter - stereotypically conforming to all things gypsy, such as living in a run-down trailer and shoplifting.

Eli Roth was notoriously quoted from Cannes last week that this series will “fuck up an entire generation”. A very bold statement and one that is essentially untrue. I realise one episode is not enough to inform a full judgement on the show, but the first episode was hardly an impressive premiere. 

We are introduced to the above main protagonists, all of whom are completely underwhelming. Arguably, the only intrigue is for Roman and the whereabouts from which Olivia got that accent. Technically, the show felt bland and struggled with continuity errors. The colour palette mismatched on several occasions and the shot composition was nothing but average. Don't get me wrong, simple shot construction is fine if you have an incredible script and strong performances to captivate audiences but even that was lacking. Furthermore, if you want to “fuck up an entire generation”, why open the episode with a beguiling sex scene featuring Roman and his bizarre fetishes? It would have made more sense to give audiences a proverbial slap in the face with a more ballsy beginning – the murder of Brooke for instance, which, whilst not frightening and comprising of generic horror clichés, was in fact the strongest feat of the episode. 

For a series supposed to be so gory, horrifying and thrilling, the first episode was remarkably average and bizarrely constructed, missing out on many opportunities to draw in key prospective audiences. As a Netflix original series, material should serve the binge-watch nature that the platform provides – one can only hope, therefore, that the episodes become more intriguing, and fast.   

Have you seen Hemlock Grove? What were your thoughts? Post a comment! 

News: Hannibal Not Airing Fourth Episode

Looks like we may have to wait a while until we get to see the fourth episode of Hannibal, entitled Coquilles. Due to the recent social climate in America (Boston bombings and Sandy Hook shooting), the shows’ creator Bryan Fuller has decided to pull the episode from NBC’s schedule. He explains...

“I didn’t want to have anyone come to the show and have a negative experience. Whenever you [write] a story and look at the sensational aspects of storytelling, you think, ‘This is interesting metaphorically, and this is interesting as social commentary.’ With this episode, it wasn’t about the graphic imagery or violence. It was the associations that came with the subject matter that I felt would inhibit the enjoyment of the overall episode… It was my own sensitivity.” 

Apparently episode five will air as normal and despite forgoing episode four, continuity  will not be an issue. NBC and Fuller will help as much as possible by providing clips online, with additional director’s commentary, to fill any gaps regarding character development.

As much as I understand Fullers reasoning, it is, at the same time, a great shame the decision was made. The preview at the end of episode three (my review of which can be found here), looked to promise an exhilarating episode with some great imagery. In case you missed the teaser, you can catch it below. Rumour has it episode 4 will still be available over seas and most definitely available on DVD upon the inevitable box set release. 

Hannibal will continue to air as normal in the proceeding weeks. 

Review: Hannibal: Season 1, Episode 3 – Potage

(Spoilers!)

Episode 3 of NBC’s Hannibal is light on psychopathic pharmacists this week and instead dishes out a rather complex narrativisation of the Garret Jacob Hobbs fiasco. A lot is compacted into this episode and it does feel particularly dense in comparison to previous weeks – no wonder it is entitled Potage.

This week primarily deals with Abigail Hobbs and the aftermath of recent familial tragedy. Unfortunately for her, not only has she discovered her mum was murdered by her now-dead father - a believed serial killer responsible for the death of eight teenage girls - she is ALSO (now awake from her coma) an essential tool to the FBI’s investigation. The FBI team (Will Graham, Dr. Lecter and Dr. Alana Bloom) accompany Abigail back to her house in the hope that she will unearth some incriminating evidence toward her father. This is not the case, however, as we learn from the episode's opening sequence, every morsel of his victims were consumed - "eating her is honoring her, otherwise it's just murder". It's a particularly sinister opening, in which we see the true creepy colours of Abigail's father. 

Whilst at home, Abigail encounters the brother of a past victim (Nicolas Boyle) who accuses her of being an accomplice to her father, acting as bait and luring in the teenage girls. First and possibly believed as an act of revenge by Nicolas Boyle, the FBI team soon discover Abigail’s best friend mounted on some antlers (akin to Nicolas’s sister).You didn't think they would do a whole episode of Hannibal without a little bit of disturbing imagery did you? However, Nicolas is quickly murdered by none other than Abigail, as (and I say this loosely) an “act of self defence”. Dr. Lecter witnesses this and helps Abigail cover up the murder and protect her innocence. But is she innocent at all? Or is this some dark and twisted manipulation on behalf of Dr. Lecter? There seems to be a latent understanding and acknowledgment between himself and Abigail, a serial-killer code or empathetic mantra. This is all the more confirmed in the episode’s final sequence in which Abigail and Dr. Lecter mutually swear each other to secrecy – he knows she committed a murder and she knows it was Dr. Lecter that made the phone call to her father, warning of the FBI’s discovery. 

This episode sustains the shows ever present visual flare, even simple staging whilst characters converse is alluringly constructed (particularly the green house sequence) and the displays of murdered victims remain as the epitome of sadistic beauty. Freddie Loundes also continues as a brilliantly hateful and manipulative journalist, cleverly getting a rise out of Will Graham - “Miss Loundes, it is not very smart to piss off a guy who thinks about killing people for a living”. Dr. Lecter, however, is the most enigmatic feature this week. His wise musings are put on the back-burner and instead, equally effective intermittent shots of his silently calm and composed nature take the spotlight. It forever keeps you questioning his thoughts and motives. Even when Will is so close on his tail, presenting a lecture in profiling Garret Jacob Hobbs’ copycat killer (Dr. Lecter), he appears almost proud of his psychiatric guinea pig. Dr. Lecter's calm and composed nature is an all the more effective tool in creating a shock, when we witness his first act of physical violence. It is brief moment but one so cleverly implemented out of nowhere, we are definitely kept on our toes.  

There are a few scruples this week, primarily nonsensical continuity errors – in a house surrounded by the FBI, how was a murder scene so quickly and effectively cleaned up? And why was Abigail left alone in the house in the first place? But these are minute issues which ultimately have no bearing on yet another stellar episode of this bold, beautiful and complex network series. 

What are your thoughts on this week's episode? Post a comment! 

News: Dexter: New teaser and official announcement!

(Spoilers!)

It's official, Showtime have confirmed that Season 8 of Dexter will be its last, as shown in the two minute teaser released earlier, which you can catch below...

I have to say I'm glad that this will be the last season. As much as I love Dexter and his dark passenger, the show has definitely run its course. Consequently, this last foray into Miami and the Morgan family should be an explosive one. Let's hope the show has gone all out and ends on a high note. Season 8 will begin on 30th June, 2013. 

Review: Evil Dead (2013)

(Spoilers!)

I guess it is only fitting that I conclude my feature on The Evil Dead, entitled Cult, Hard to Please and Unlikable Trees, with a review of the much-awaited remake, directed by Fede Alvarez. 

In terms of the narrative, it is almost identical to the original premise of the 1981 cult classic. Five teens stay in a cabin in the woods and unknowingly unleash evil demon spirits that ultimately cause a lot of death and bloodshed. The first positive point I have to make is that Alvarez cleverly added another dynamic to this narrative trope. The teens weren't going there for a romantic getaway or an atypical spring break piss up, but instead, were going to help our main protagonist Mia (Jane Levy) quit a drug habit as she aims to go ‘cold turkey’. It has poignancy for the first half hour or so as Mia’s friends question the devilish goings on, blaming it on the symptoms of withdrawal – it’s a welcomed twist to a generic set up that has, let’s face it, been exhausted to death for many years.

After Mia and friends venture into the basement, we get our first shot of the Necronomicon. Appearing as foreboding and menacing as ever we soon learn that if we find a book, inked in blood, bound in human skin and covered in barbed wire we should probably not touch it and definitely not read it. But hey, what kind of film would this be if our teenage protagonists had common sense!? Soon enough, Eric (Lou Taylor Pucci) reads from the book and unleashes a demonic presence that latches on to Mia’s soul. From here on out, carnage ensues in a whistle stop tour of all manners of dismemberment. 

The films’ score, composed by Roque Baños, was problematic throughout. At times, orchestral bursts fitted perfectly with fleeting moments of gore on screen, adding extra gumption to the effect. The bomb-raid-esque alarm that featured toward the end was incredibly effective in adding that extra punch of excitement and intensity. Apart from that, however, it felt overtly melodramatic and out of place, attempting to be sentimental with characters which, let’s face it, we do not care for and are not particularly likable. 

Apart from Jane Levy’s performance, in which she goes all out in a very trying and physical role, the remaining cast are incredibly bland and underwhelming, as is the film’s script. Of course, however, we are not watching Evil Dead for intense character development and outstanding performances. Really and truly, we want the gore, and it is this in which the film deserves its highest praise. 

I won’t give away every trick in the book but the second half of the film is a truly glorious rollercoaster ride of splicing, dicing, carving and stabbing. Alvarez’s choice to avoid CGI and go ‘old school’ is a bold but brilliant choice, making the experience all the more visceral and memorable. It’s a strong attempt to recapture the nastiness that was much loved about the original (in addition to subtle inclusions of the iconographic car, clock and pack of cards). Particularly, the last ten minutes in which Mia is literally battling her demons is worth noting, as an exhilarating blood-fest. 

As gory as these moments are, however, they are not terrifying. Whilst much debate has been had over the intentions of the original (was it supposed to be terrifying, comical or both?), Alvarez went with the decision to remake it as an out-and-out horror film so it is a shame that scares are lacking (although this, of course, is entirely subjective). The decision to forego comedy is also, therefore, highly noticeable and thus, there is an unfortunate sense of emptiness that shadows throughout.

Whilst Evil Dead is not "the most terrifying film you will ever experience" (as the promotional posters wrongly suggest) it is still a thrill ride. Alvarez has done a neat job with a difficult task of retaining much-loved elements of the original but at the same time voicing his own craft and adapting to a different generation. Jane Levy is a joy to watch but the brutal, gory special effects are the film’s strongest feat. So, this remake, sequel or as Alvarez has coined "requel" is, overall, a ballsy and refreshing addition to studio re-workings of canonical horror classics. 

Have you seen Evil Dead? What were your thoughts? Post a comment! 

News: Zombieland – Official trailer and pilot episode released!

With The Walking Dead away Zombieland has come out to play and no, not the amusing film written and directed by Rhett Reese and Paul Wernick. Instead, the same duo have teamed with Amazon to place the same horror-zombie-comedy concept on our screens but, as a television series. 

Apparently the pilot episode is available online now but many have been experiencing problems (including myself) most likely due to high traffic. Nevertheless, you can by all means try by clicking the link here. If that fails, why not just watch the official trailer below which will give you an insight on what to expect. 

Unfortunately Jesse Eisenberg, Emma Stone, et al. have not returned, but the pilot is directed by Tucker and Dale vs. Evil’s Eli Craig. The concept of the show is very similar to the film, in that a group of survivors fend off zombies in a comical manner, with one-liners in abundance (although that appears debatable). I have to say I am not greatly enthused by the trailer, and I also question the longevity of something like this that has already been covered and rounded off nicely in a 90 minute film. If anything, it  makes me want to watch that again instead. Regardless, we must let Amazon know as they will only continue with the show if there is a good response.

What are your thoughts on the trailer and the Zombieland foray into serial format? Post a comment!

Review: The Cabin in the Woods: Homage to Horror

(Spoilers ahead!)

I have a confession – last night was the first time I saw Drew Goddard and Joss Whedon’s The Cabin in the Woods. Believe me, I hang my head in shame whilst writing this admittance. Now, however, I can sit bolt upright with a big grin on my face after experiencing such a brilliant film. I enjoyed it so much in fact, that I feel compelled to write this somewhat love letter to a film that is well... a love letter in itself, a declaration of adoration for the horror genre.

For those of you who have not seen it (I won’t lambast you as I don’t really have a leg to stand on here) the film follows the basic premise of five teens taking a vacation to a cabin... in the woods (funnily enough). Whilst there they manage to unearth some deadly goings on and all hell ensues, as each teen is ultimately killed off one by one. Pretty formulaic no? Well herein lies the brilliance in the film – Goddard and Whedon not only recognise this traditional horror formula but wave it in our faces and play with it for the entirety of the film . 

From the beginning we are introduced to Gary Sitterson and Steve Hadley (wonderfully played by Richard Jenkins and Bradley Whitford), who are technicians or ‘gamemasters’ manning a soulless control room. They (to a certain extent) control the fate of said teens, moulding them into stereotypes (slut, jock, joker, nerd and virgin) and induce pheromones that ultimately make them  hornier and stupider (heaven forbid they actually stick together in a crisis). Basically every horror cliché is knowingly implemented in order to cause the inevitable demise of our beloved teenage protagonists (or so we are led to think). Now, I know what you’re thinking and yes – Wes Craven did do this with Scream in 1996. However, his postmodern take was primarily on the slasher sub-genre. Goddard and Whedon cover it all.

The death of each teen is caused by the zombified Buckner family, an undead crew the teens unknowingly raised themselves. Whilst I love a bit of zombie action as much as the next person, it albeit felt anti-climactic. That is until two surviving teens manage to break into the control facility and let loose every horror creation you could ever think of via a "system purge". An all matter of carnage ensues creating the most entertaining sequence of the film - so entertaining that I featured it below. Fair enough, the ending of the film may spoil the whole experience for some but for me it didn’t – I was still reeling with enjoyment over a Merman eating Hadley. In fact, I will still reeling with enjoyment over the preceeding 80 minutes or so. 

As a film I believe it was totally miss-marketed and therefore underrated. It’s not your typical horror film as most punters believed, nor is it a “game-changer”. It’s an intellectual, postmodern homage intertwining every horror cliche and monster into the narrative. That, and it's all spectacularly delivered via brilliant script and enjoyable performances (particularly by Jenkins and Whitford). There is no literal breaking of the “fourth wall” but Goddard and Whedon know we are there and are having fun with us. Well, trying to anyway. For those unfamiliar with the horror genre, the subtext and intertextual references will be totally lost on them. The influx of all things monstrous at the end will no doubt appear silly and definitely not terrifying (although that in itself is entirely subjective. For instance, if you have a fear of clowns or extremely toothy sugar plum fairies, odds are you will get a bit frightened). To horror afficionado’s, however, it’s a celebration, a love letter, a joyous game of who’s-who in the horror genre as we revel in their destruction.

The film is also wonderfully comical. The chemistry and one-liners from Hadley and Sitterson shine throughout and a scene transition within which the “final girl” reaches her apparent demise, but in the background whilst control room workers celebrate, is the epitome of sadistic comedy. 

Wiry Girl: That's not fair! I had zombies too!

Sitterson: Yes, you had "Zombies." But this is "Zombie Redneck Torture Family." Entirely separate thing. It's like the difference between an elephant and an elephant seal.

As much as it is a love letter to the horror genre, it in some ways, is also a critique. The film highlights generic issues of senseless nudity via a scene in which men eagerly await a pair of boobs (“Does it really matter if we see...?” “Got to keep the customer satisfied...”). The five teens are also caricatures of the contemporary vacuous types that go hand in hand with the genre. Goddard and Whedon, furthermore, denounce the genres recent devolution in to torture porn territory by not including it whatsoever.

Equally, there are a few criticisms toward the film itself. The use of CGI detracts from the experience and appears noticeably out of place. Also, as I have already touched upon, the ending was perhaps a step too far. The sadist in me would have preferred an even more nihilistic approach, with the film ending at Dana (our surviving ‘virgin’) shooting Marty (the ‘joker’). Critics have expressed a disliking toward the films self-referential nature and lack of scares. However, I disagree. I may be biased as a horror fanatic, but there are enough thrills and spills to entertain everyone. Furthermore a little intelligence and self-reflexivity never hurt anyone... apart from those in the film of course.

I completely understand that some may hate this film, finding it pretentious, silly and not even remotely scary. But hell, in essence it’s two grown fan boys writing a love letter to the hyperdiegetic world of horror, and boy... did I enjoy reading it.  

What are your thoughts on The Cabin in the Woods? Post a comment! 

News: Red Band Trailer for Hemlock Grove

After multiple trailers and panels at various conventions, in which footage of a werewolf transformation scene was shown (read my thoughts on it here), a red band trailer for Eli Roth's Hemlock Grove has been released. You can catch it below...

The trailer reworks a lot of bits we have seen already but obviously, the emphasis here is on the level of gore and teenage promiscuity. For the first time there is also a hint at other creatures that may roam the troubled Pennsylvanian steel town. 

I have to say, I'm in two minds about Hemlock Grove. On the one hand I think brilliant - another horror series to hit our screens which doesn't look afraid to push boundaries. It's also a nice occupant whilst we wait for the likes of The Walking Dead and American Horror Story to return. On the other hand I think - such programmes (not forgetting NBC's new venture, Hannibal) have treated us to series that are both gory and thematically adult. Hemlock Grove is clearly targeted more toward a teenage demographic so high school drama could reign as a foreground narrative device. Admittedly, I have not read the novel from which this is based so I do not know where the series is going and could therefore be totally wrong. Furthermore, who's to say that teenage-come-werewolf high school drama won't be utterly captivating!? I mean... look at Teen Wolf... Nevertheless, I can't help but feel slightly apprehensive. I guess all will be revealed this Friday, April 19th, when all 13 episodes become available on Netflix. 

Are you looking forward to Hemlock Grove? Or do you think we've got a hardened Twilight on our hands? Post a comment!