Stake Land: Putting Teeth Back Into the Vampire Genre

"It's JUST like Zombieland but it's not funny, and instead of zombies it's vampires that are causing everyone so much grief!"

Barf.

I don't know how many fucking times I read that description whenever reading a review for Jim Mickle's latest film, Stake Land. The two films (Zombieland and Stake Land) have NEVER had ANYTHING to do with one another, and I believe that should have been obvious (especially to horror fans) right from the film's first teaser trailer that was released before Zombieland had even come out. Sure, there are some similarities with the post apocalyptic setting, something that was never done in any other film outside of Zombieland. The Last Man on Earth, Omega Man, Phantasm II, The Road Warrior, 28 Days/Weeks Later, Night of the Comet, Carriers, etc. None of those films were set in a time when the world was riddled with either zombies, vampires, infected, crazy people or even some concoction of the four. Is the name Stake Land is a bad choice? Well, it's not a great movie title by any stretch, but the film was initially conceived around the same time as Zombieland, so the comparisons are simply ridiculous if you ask me, especially when every Tom, Dick and Harry felt the need to make the exact same comparison when reviewing the film. 

Sorry, I had to get that off my chest. Shit has been bothering me for months. Let me reign things back in here and get back on track now that I've probably offended someone I like...

Directed and co-written by Jim Mickle - who made a nice little splash with his solid, original take on the zombie film with 2006's Mulberry Street – Stake Land is set sometime after the world had become infected by a deadly virus. But this isn't your typical airborne type of contagion; instead, the deadly plague comes in the form of vampires. Without any back-story to how it all started, the vampires have quite easily taken over the planet, leaving few survivors behind and their victims to come back as their allies.  

Now, these vampires aren't the type of chiseled abs adorned hotties that make out with chicks and style their hair (You know, like me). Nope, these are vicious, man-eating vampires filled with aggression and a certain level of survival smarts and tactics. The idea of a plague by vampirism is a smart choice, as most of us are already aware of how vampires work and how they can turn people into fellow vampires. Therefore, there is no need to explain how the disease has spread; it's a part of the monsters mythos. Though, there are some things that separate the film from the by the book characteristics of vampires, one of them being that they seem to either have evolved or there are at least a few differing breeds of them with some being more powerful than others.  

Stake Land follows a man simply known as Mister (co-writer, Nick Damici) and a teenager named Martin (Connor Paolo) who Mister befriends after saving his life from a vampire attack that left Martin's entire family dead.  Mister – who hates being referred to as Mr. Mister – is what you could call a badass motherfucker who is skilled in the ways of vampire slaying. He and Martin are traveling to Canada (which has been dubbed New Eden) which is supposedly a refuge free of vampires and filled with at least a small sense of normalcy.  

Not at all the most original of ideas in anyway. Regardless, I will always attest to the fact that originality is not an issue if a film can bring something to the idea. There is a reason why classic stories are classic stories. In the hands of the right filmmaker, a classic story can always be told well. That would most certainly be the case with Stake Land. 

Despite the lack of background - which is actually appreciated by myself - Stake Land is a cinematically poignant and deep film that resonates in its situation. Despite the vampiric elements, the circumstances feel real as do the characters. I found myself drawn to the people of Stake Land, as they are somewhat relatable as is the way in which they are dealing with their plight. The characters are who they are and they aren't filled with overly dramatic traits that would mean to alienate the audience or even themselves. I specifically enjoyed the subtle father son relationship between Mister and Martin that is vastly more enduring and somber than any single moment found in the highly overrated and often compared to, The Road. The emotional impact is better conveyed because it's not being forced upon the viewer; it happens naturally. 

Stake Land is filled with very strong performances by all those involved, but the stand out in the film is certainly Nick Damici, who also stared in and co-wrote Mickle's Mulberry Street. What I love about Damici is the fact that he is a real person, a man's man, someone that you would find littering tough guy cinema of the '70s. He's a rarity in these cinematic times, and to see someone like him in a film such as Stake Land is simply awesome. I also must give credit to his character of Mister. He is a true tough guy, but he breaks the mold and never acts so tough that his exterior cannot be broken. Without hesitation, he is compassionate, sympathetic to others and is not at all selfish despite the fact that it could result in his own undoing. He isn't simply trying to selfishly survive, he is trying to fight back the evil that surrounds him.

Mickle has constructed a film that is technically nice to look at on what is supposedly a teeny-tiny budget ($625,000 from what I have read). Stake Land isn't some slick, blue hued vampire film that is overly stylized and hyperkinetic, nor is it a sepia toned apocalypse movie littered with slo-mo shots. It's a straightforward and nicely crafted piece of cinema, filled with wide landscape shots that convey the rural, vast and almost completely devoid of life world that Stake Land is set in. Between the character of Mister and the way in which Stake Land is filmed, it has almost has a Western sensibility to it.   

In what is yet another case of the 'unoriginals', the whole 'people are so much worse than the monsters' commentary is in full effect here in Stake Land. It does work for the most part, but it is a tad over done and also feeds into a portion of the film that might be a point where it loses its footing a little. However, where the film does falter is minute and not nearly enough to affect my thoughts on the film as a whole. Which to me is a near perfectly made and very subdued modern horror/vampire film. There was a time when I was young and vampire films and the creatures themselves were some of my favorite things about horror. Therefore, I am incredibly ecstatic to have a film such as Stake Land come out. Stake Land shows us that the vampire can still be used in a way that is interesting, and proves yet again that the genre is alive and well. We just have to look outside the cinema to find it. 

The Road: To Nowhere

Set in a post-apocalyptic wasteland, 2009's The Road follows a father and his son as they are trying to survive in a dead world where there are almost no resources left. There is no plant or animal life left, let alone much food and water. The very few humans that are still alive, are dangerous bandits that more than likely will rob them for their belongings, as well as taking the flesh from their bones just to fill their hungry bellies. There is little to be said as to what has caused the world to get to this darkened point, but there are flashbacks to a once happy life that would come to crumble under the pressure of the cataclysmic happenings.

I'm not really sure what else there is to say about The Road story wise, as it's as simple as watching a father and his son walk from point A to point B. They have a few run-ins with various people, some good, some not so good. They find food and shelter but are forced to run away due to fear of being cannibalized by scavengers. They are on a journey, but it's a journey to nowhere, essentially, which really makes their travel and need to survive completely pointless. While that may seem poetic in a way, it's unfortunately pretty boring to be quite honest.

The Road is about the despair of a father, a father that’s love and fear is so deep, he would kill his own son to keep him from being knowingly victimized by bandits. He even teaches his son that suicide is the alternative to being possibly raped and eaten by less than respectable survivors of this apocalypse. On the other hand, the boy has hope, a youthful hope, an unrealistic hope that his father knows can be very dangerous for the overly hopeful and trusting boy.

This is not a film that would focus on action but on emotion. Intense, heart ripping, emotion, and there are twenty gallons of that   emotion displayed on screen, but not one single drop of it has any sort of impact. I'm not sure if I can pinpoint why The Road couldn't pull me into the character's plight, but it seemed as if it was expected of me to have certain reactions without earning them first. Without making me care for the characters beforehand.

I am the type of filmgoer that can easily have emotion projected on me, even if it is from a source that I have no personal connection with. I can channel it and be completely swept up by sentiment and passion, as I can simply relate to it as a human being with feelings. So maybe not having a child of my own could be looked at as a factor, but I seriously doubt that's the case. I should be able to feel a connection, whether or not I have a similar one in my own personal life.

It is that attachment that would make or break this film, and without it, The Road fails incredibly. I didn't root for them to make it because there was nothing  to be made - there was no investment because there was no point. To make things worse, the boy was incredibly annoying on almost every level. The character is obnoxiously whiny and mopy, and it's not even because he is living a horrible life in a devastated world, it's because he has all this hope while his father doesn't. Give me a break.

Kodi Smit-McPhee's performance doesn't help any either, as everything he said and did drove me up the wall. He really gives Jake Lloyd a run for his money, and if he said 'papa' one more time, I may have tried to fit my head into the garbage disposal. I cannot help but think if there had been a better actor involved, the film may have been slightly more bearable for me, but I stress slightly because the character is hokey to begin with. Mortensen, on the other hand, is fantastic, but that is not much of a surprise, I suppose. Nevertheless, his gripping performance seems all for not since his character couldn't grasp my affection in the slightest.

It's really too bad, The Road is simply gorgeous and the look is what I think we all would come to expect if the world was indeed dead. The decay of the planet and the minimal characters that inhabit it are all very believable on an aesthetic level and the art department deserves much kudos for their projection of this lifeless future. While John Hillcoat's direction is technically solid, being the director, he also failed to deliver a film that could make me care at all about its characters and what happens to them. I never once felt their pain or even their few moments of happiness, and if I cannot feel it, why should I be invested in it?

Carriers: Circle Circle Dot Dot

2009's Carriers is a film that went mostly unnoticed at the box office, as well as a film that no one really expected anything from (myself included), which could have had to do with the PG-13 rating, mixed with the somewhat youthful and attractive cast. I'm not one who believes that PG-13 horror cannot work, I just thought the movie looked weak and uninteresting. Still, when reviews came in and were mostly positive, I figured it was worth a look, and I am a sucker for any sort of Apocalyptic film, so my arm need not too much twisting.

Carriers keeps the story basic albeit slightly predictable, focusing on four survivors (played by Lou Taylor Pucci, Chris Pine, Piper Perabo, and Emily VanCamp) that are traveling the empty dessert highways as they try and survive a viral epidemic that has taken out much of the Earth's population. The story is simple, but doesn't treat the viewer as if they them self are simple. There is very little to no exposition, things unfold naturally and there is no over explanation as to what is going on. The film starts right off, without the usual back-story, and you really don't need it, as it becomes apparent through character interaction and the setting how things got the way they are.

While there are a handful of well staged moments of tension, Carriers is not really a "horror" movie per say. It's more of a dramatical road film, with the focus being mostly on the characters as they try and keep it together to survive this pandemic. The only threat posed is from the infected, as their presence can spread the sickness either through the air or through blood. Other wise, they are just men and women that are slowly fading away to death, not aggressive or rabid zombie type of monsters, which is a nice chance of pace. There are no big action moments or wild special effects, it's a low key drama fueled thriller that goes through the paranoia motions from time to time.

One could consider the film's antagonist to be the four main protagonists themselves. They live by rules to keep themselves safe from infection, and play by what is an everyman for himself game of survival when it comes to characters they have run-ins with. One of the portions of Carriers that I found myself enjoying most was the interaction between the four main characters and a father and his sick daughter that they run into (played by Christopher Meloni and Kiernan Shipka, respectively). Meloni is fantastic in this small role and the father/daughter characters are clearly used as instruments to pull at the viewer's heartstrings. In my case, It worked.

One of the few downfalls of the movie is it moves a bit slow at times, especially towards the end. However, the film is short, running at about 85 minutes, so there isn't much time for the film to wane too much on the viewers interest. Still, Carriers is good all around, with solid, simple direction from brothers Àlex and David Pastor. Everything about this film is simple, but it succeeds by doing what works and does so competently, without force fed plot points and exposition.

Salvage

We have seen the world face extinction in plenty of big budget movies, with national monuments blowing up, zombie swarms spreading faster than your dirty little secret itch, Earth shattering quakes…you get the picture. When it comes to apocalyptic happenings in movies with a lower budget, challenges are greater, namely, there is not the money in place for huge action set pieces. Instead, the filmmakers must use there lack of budget to be creative, to make the viewer feel the end is near without the help of major CGI effects. 

2009's Salvage is a British film that is without the benefits of money (working on a budget just above three hundred thousand US dollars), so there is a need to work around these restraints. There are often common elements when it comes to very low budget films that focus on some sort of apocalyptic occurrence, one being seclusion and the other being character development. You set up the conflict happening outside and somehow trap the characters inside, where the viewer is actually along for the ride that the characters are on, as they are on it in real time. It is something we have seen before, most recently with 2006's Right at Your Door and of course, it goes way back to Romero's Night of the Living Dead.

Salvage follows minimal characters, namely Beth (Neve McIntosh, who gives a powerful performance) and her one 'day' stand, Kieran (Shaun Dooley), as their lives are thrown into chaos when a group of heavily armed military men take over their upper-class neighborhood on Christmas Eve. Forced at gunpoint to stay in their homes, they are left to speculate as to what could be happening in the world outside of their front door. Thoughts immediately go to terrorism, but there seems to be something far more threatening as they may have more to fear than just the armed military personnel, or a foreign attack.

Playing off of characters instead of big explosions, Salvage makes perfect use of its antagonists. The film has characters with complexity, characters with problems and major flaws, but the relatability of those flaws make the characters easy to access on a human level. When the viewer first meets Beth, it is when she is catching a couple of inches from Kieran, only to be caught by her daughter Jodie (Linzey Cocker) after being dropped off by her father a few hours early to spend the Christmas holiday. There is already major strain in their relationship, which is something that plays into the film nicely as a plot point, and pushes the character development. Kieran also holds some qualities that are less than respectable, and this gives a great dynamic to his relationship with Beth, whom he only met that same day.

With little money on his side, director Lawrence Gough has constructed a solid film with an intimate setting, strong characters, and a capable style. Even more so, Salvage plays its tension tightly and the pressure stays on for much of the film's first two acts. There is little to no music as things move quietly at times, adding to the bpm for the characters, as well as the viewer. The runtime is short, and with such a minimal film, that works to its advantage, keeping things very brisk and nicely paced. There are never any moments where things lull, and if they do, it is for the purpose of the fantastic character development.

I do have a few issues with the film, and for the sake of spoilers, I will move very carefully as not to reveal anything. Now, there is a reason why "something" is happening and the reason itself is a bit of a lame duck. However, it is  less about the reason and more about the happening itself that matters, but it is clichéd and hokey. And being as vague as one can possibly be, I thought the movie's threat was almost completely ridiculous when the screen presence was known, but that presence is very minimal, as well as being more towards the film's end, so it isn't too disruptive to an otherwise taut little horror movie.     

Neither of those issues take anything away from the film as a whole, as Salvage succeeds where many big budgeted FX laden apocalyptic films fail, it uses pieces of the cinematic puzzle that equate to skill and creativity. The possibility that the world is coming to complete catastrophe is made valuable with characters, not with special effects. Salvage is seeing its US release in just a few days from the folks over at Revolver Entertainment, and I highly suggest checking this one out.

Pontyline

Does that "joke title" even make sense? It's supposed to be like "panty line," so I took the pool out of Pontypool and changed it to line. HAHAHAHAHA. Pontypool is a Canadian horror film directed by Bruce McDonald and based off the novel, "Pontypool Changes Everything" written by Tony Burgess. While the director himself does not considered Pontypool to be "zombie" film, it is an infection film, which puts it firmly hand in hand with the zombie genre.

Either way, Pontypool is a fresh take on infection/zombie movies and while you may know a little about what drives these zombies from other sources, I will only lightly touch on the details of the actual infection itself...an infection that is somehow caused through language. This is what makes this movie so completely fascinating is the idea of using language to cause and/or spread this infection as opposed to conventional means. To create the idea of "killer language" and then set the film in a radio station where talking is the part of the job is a brilliant idea and one that also makes for a more traditional influence...seclusion. We'll get back to that later...

There are three main characters in Pontypool - Grant Mazzy (Stephen McHattie) is a sort of shock-jock radio personality, who after being fired from his last job, ends up working this shitty small town gig in Pontypool, where instead of pushing peoples' buttons, he is reporting about missing cats and the weather. Sydney Briar (Lisa Houle) is the radio show's producer and she is joined by Laurel Ann (Georgina Reilly), who is a sort of tech girl for the station. As the morning show is trucking along, they begin to receive news reports of strange events that are happening in the small town, and over time these events escalate and get weirder and weirder, to the point that it is clear that something bad is happening. They are a morning radio show, so of course they report this news as it comes in, whether they have official word from the news wire or not.

This is one of the many things that works so well in Pontypool - the fact that, as a viewer, you only know as much as the these three characters know. Nothing more. They aren't sure what to make of these events as they are unfolding because the details are scarce and that provides a lot of slow burn tension. There are large portions of this movie, where mixed in with brilliant editing, things are so tense and completely captivating. As I was watching Pontypool, I found myself engulfed in the story, because I too wanted to know what the hell was going on outside of the secluded radio station.

Secluded radio station...always a recipe for success, when done correctly. Not once are you away from the characters in this film. Not even for a second. Only time spent outside of the radio station is time spent with Mazzy as he is heading to the station for his work day, that is all. You have no clue what the town looks like and that is a great way to let your imagination run wild as you can only guess as to what the area looks like outside of it being described as small. Only thing you know about the world outside of the station is the fact that it is very cold and just as snowy. Total seclusion. You are given free reign to come up with a million and one images as to what is happening outside - in a location that your imagination creates.

Pontypool's driving force is it's characters, as you essentially have only three characters to follow in the film (outside of a few people who pop in here and there), so strong performances are of the utmost importance here. All three actors turn in phenomenal portrayals in Pontypool with Stephen McHattie as Grant Mazzy really shining bright as the bitter radio jock. He acts as the film's narrator and while he is guiding the audience of Pontypool the town, he is also guiding the viewer of Pontypool the film, all with a voice that is tailor made for radio listening ears. Georgina Reilly as Laurel Ann also puts in a solid performance and delivers one scene soo well that it is clear she was perfect for this role. Unfortunately, details of that scene are spoilerlicious, so I will not say any more about the subject.

This is a "zombie" movie, but don't go into Pontypool and expect to see any zombie/infected action like you would with many films of this variety. There is little to no actual interaction with the antagonists in the movie. The only interaction you really have is the fear that they are able to put into the unknowing inhabitants of the radio station. Mental interaction, if you will.

I found Pontypool to be flat out fantastic and a movie that doesn't force everything that is happening down your throat. You are left to come to your own conclusions all the way and until the very end and it is a completely engaging experience throughout. Pontypool's writer, Tony Burgess also scripted the film along with director Bruce McDonald. Both were heavily inspired by Orsen Wells' classic radio broadcast of War of the Worlds and that is essentially what the film is like, a radio play. Incidentally, Pontypool was simultaneously produced as both a theatrical film and as a radio play, using the radio broadcast from the film itself. Something that I hope will be on the DVD when it comes out next January.

Don't be a fool, watch Pontypool!

I Can See For Miles and Miles

After a long day at work, and an even longer night partying with those wild kids over on Elm Street, I found a little time to post something over at Paracinema this evening. Gearing up for an upcoming multi-state move for the Missus and I, it is nice to be able to sit back and watch a movie where the characters have some chaos in their lives to deal with. The movie is the 1988 apocalyptic film, Miracle Mile. Watching a bunch of people run around due to what may be the end of the world takes some pressure off a person, and makes me feel a little better about packing too.

Apocalyptic situations in films are something that I truly enjoy, whether it be the start, in the midst, or the post, the apocalypse is a sub-genre that comes in many shapes and sizes, and one that can deliver on many different levels. From the modest budgeted and intimate one-man show from Rory Cochrane in Right At Your Door, to a cult classic like Gilliam’s 12 Monkeys, and a powerhouse blockbuster pile-of-shit like, The Day After Tomorrow, it is a genre that is a part of cinema that can be matched by no other in abundance and diversity. Zombies, viruses, natural disasters, unnatural disasters, giant monster movies, War, alien invasions, you name it, they are all apocalyptic sub-genres. So yeah, Miracle Mile - where does it place in the annals of apocalyptic cinema? You will have to head over and read my review for yourself. In the meantime (Helmet!), I’ll be working on the plans for my new bomb shelter, hopefully equipped with a rocket launcher!



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