Holy poop, it's already time for a new issue of Paracinema, and the great minds behind this AWARD NOMINATED magazine have pumped out what looks to be their best issue yet (starting with that dope cover!). Dubbed The Women's Issue, issue #11 has been dedicated to fairer sex by having the entire magazine written solely by women. While I am fearful that at least one of these fine ladies will bring up their period, I'm willing to take the chance as there are some fantastic writers (and good friends) involved with equally wonderful subjects that are to be covered. Take a look below for a sneak peek at what's in store…
Demystifying Superwoman: Shifty Gender Roles, Hysterical Moms, & Pissed Off Daughters in The Exorcist
Yowza! And that's only the beginning! So head on over to Paracinema to preorder that shit asap, or I'll pee in your sink. Again.
While we're on the subject of Paracinema, the magazine has been nominated for an award, a Rondo award for best magazine, to be exact. This is great news, and I wanted take a moment to send a huge congrats to two of my favorite people, Dylan and Christine, for their nomination. It's good to see such hard working people with an intense passion and respect for cinema receive some recognition. Paracinema keeps it real, filtering out all the bullshit that's to be found in most other genre magazines, and for that I truly believe they deserve this. If you would like to vote in this year's Rondo awards, click away, and please, feel free to vote for Paracinema, because they believe in freedom!
And finally, it's time to talk about me, which is nothing short of a pleasure as I do love me some me. Over at The Gentlemen's Blog to Midnite Cinema, I just posted up a review for the Italian Post-Apocalyptic flick, Urban Warriors. So, if you don't mind, head on over to theGBTMC to give it a looksee. Do it for Dudikoff because he would expect nothing less, and he too believes in freedom!
As much as I enjoyed Vincenzo Natali's Sci-fi Horror hybrid, Splice, the film is littered with a number of minor issues that, for me, can be overlooked in the big scheme of things. However, one major problem I have with the film - and something that truly holds it back, in my opinion - is the final act where the viewer is given the long awaited opportunity to see what the man-made monster, Dren (Delphine Chanéac), is truly capable of. Obviously, this will be a complete spoiler, so go away if you've not already seen the movie. Don't get all pissy about it…you can come back later on after you've seen the movie. Anyway, as you know, Splice ends with a scene where it is believed that Dren - the creature created by Genetic engineers, Clive (Adrien Brody) and Elsa (Sarah Polley) - is dead. Clive and Elsa take Dren's body and bury it outside of their secluded farmhouse where they had been hiding Dren from the always-pesky pesky-people that love to do pesky things. You know the type.
Soon afterwards, Clive and Elsa's poorly fleshed-out boss, William Barlow, shows up along with Clive's brother and co-worker, Gavin, when Dren - who underwent a metamorphosis that transformed her from a female, to a male - suddenly attacks both men. After killing both Barlow and Gavin, Dren goes on to rape Elsa and kill Clive after he stabs her with a branch. Elsa delivers the final blow with a rock to the head and that would seem to do it for Dren. Now, I should mention that this whole scene is very well put together - outside of the ridiculously handled rape, of course - and should work in a way that is a sort of a payoff for the slow moving, character driven time spent leading up to this action filled finale. The wooded setting is absolutely gorgeous, with how the moon's rays cast ominous shadows, illuminating the snow-covered ground to make for quite the incredible backdrop for a scene of violence and action.
So, where exactly does my problem lie with the ending of Splice? Well, as I mentioned earlier, before Dren attacks she makes a drastic transformation into a male. She becomes a different creature (despite being played by the same actress), and it's very clear that the monster known as Dren is not present in any real way that translates to film (because her internal thoughts and feelings clearly do not translate to celluloid). All of the time spent with Splice is time spent with Dren as she is. A female. We watch her grow and mature into what may be one of the finest looking monsters I have seen in quite some time. A truly original creature that is almost, dare I say it, sexy (I know, gross), but in a way that is dangerous and frightening at the same time. Dren has a horrifying elegance as a monster that goes well beyond Splice as a film, and it's a complete shame to sit through an entire movie with this wonderful creation, only to have it taken away at the last minute for the sake of a plot device.
And what was that plot device again? Earlier in the film, Clive and Elsa's purple booger experiment goes awry when the female hybrid creature they created turns into a male and the two purple boogers kill each other. This would seem to be the clue that Dren would also swap sexes, but the question is, why? Why does the purple booger have to change into a male to become volatile? Is it to show that the male is more aggressive than the female thus the male Dren attack scene at the film's end? Dren already showed intense signs of intense aggression and a lack of rational thought, so that throws that theory out the window. The only reasonable explanation to make Dren a man is solely to impregnate Elsa. Regardless of it serving the purpose of a cliffhanger/plot-twist, I really do not see any reason why Dren, as was, couldn't be capable of impregnating someone herself.
To ask your audience to suspend their disbelief and accept the fact that a female gendered science experiment, complete with a serious phallic symbol, could impregnate a human woman, is not the tallest of orders. No one knows how this created creature would mate, procreate, or do anything for that matter. If anything, I find it more believable to just have Dren be able to do this because she isn't a human and can quickly adapt to move her new brand of species forward. Evolution for the sake of survival. Her aggression, as well as that of the purple boogers, can be as simple as that, an experiment that resulted in chaos, which is sort of the film's point, correct?! Therefor, this entire unnecessary plot point serves no real purpose but to try to be smart, but instead takes away a major piece of the puzzle from what is essentially a monster film. It takes away the monster.
While I've seen varying touches of subtle humor in some of his films, I have never watched any of director Alfred Hitchcock's flat out comedies. I never really thought about seeking one out either, but it would turn out that the sip I took from 1938's, The Lady Vanishes, tasted a whole lot more like a comedy than it did the thriller that the Netflix description was trying to sell me. Sometimes when you think you're taking a drink of one thing, not knowing it's actually something completely different, the taste can be almost souring. Even if the drink is something you really like, it doesn't matter. You expected something else and your taste bud's equilibrium is simply thrown off, leaving you with a "who farted?" face.
This was not the case with The Lady Vanishes, in fact, I found that my first sip turned into a full fledged chug-chug-chug, and before I knew it, I was drunk with glee. The structure of the movie (based on the 1936 novel, The Wheel Spins, by Ethel Lina White.) does work as that of a thriller, with a group of travelers that find themselves spending the night in a hotel as they wait out the terrible storm that has halted their train for the time being. While spending the night, the many characters are introduced with the main character being that of Iris (Margaret Lockwood), a young women who becomes acquainted with an elderly governess named Miss Froy (Dame May Whitty).
During the overnight hotel stay is where a bulk of characters are introduced, with many of them playing minute yet important parts that work almost as red herrings in a way. All of the characters are interesting and many have a quirkiness about them that adds an air of eccentric fun to the film as a whole (most notably and for a number of reasons are the characters of Charters and Caldicott). It's not even clear as to who the film will focus on until the travellers are all back on the train and Miss Froy goes missing. The only person who notices this is Iris, but when she begins to investigate, no one on the train seems to know - or wants to admit knowing, for whatever reasons - who Iris is talking about.
That's really the basic idea of the film, and while there are many little twists, turns and mysteries to be discovered with many of the individuals on board, The Lady Vanishes uses this plot of suspense and intrigue to do so much more than what it would seem to be at face value. As I said, the movie is very much a comedy, one that is driven by an ensemble cast for the first act. However, the film changes its focus after the incident happens and that is when most of the time is spent with Iris and, another acquaintance she made while at the hotel, Gilbert (Michael Redgrave), whom helps her try to unlock the mystery of the missing women.
Doing a little backtracking to give some background on Gilbert and Iris, their first encounter is not the most positive one as Iris tries to have Gilbert kicked out of his hotel room for making too much noise playing music in the room above hers (in an oddly hysterical scene), thus keeping her from a good night's rest. After the hotel manager asks him to leave his room, Gilbert promptly comes down to Iris' room and informs her that since she had him removed from his room, then he will be staying with her for the evening. His brashness and overconfidence in the situation only infuriates Iris, but it does so to the point to where Gilbert gets what he wants, which is his own room back.
Even as initial adversaries, the minute both Iris and Gilbert are on screen together, it is clear that there is an incredible connection between the two, whether or not Iris would knowingly want to acknowledge it at first. This is a relationship that builds and becomes stronger when an obviously smitten Gilbert helps out a distraught (and equally enamored) Iris in her search for Miss Froy. Redgrave and Lockwood are simply delightful on screen together, and watching them fall for one another is truly where The Lady Vanishes succeeds the most. There are many scenes where the two play sleuth, and their interactions make for a handful of nice, genuine moments that also work as a solid way to break up the tension and the seriousness of core the story.
For a film that does come off as a comedy with the structure of a thriller, it is a little on the ridiculous side as far as the story goes, as well as where it ends up towards the movie's back end. Things get a little too serious for the contrasting moments of humor, and for that the movie is slightly conflicted, but none of that is as important as it should be due to the film's other strengths. One of them being the brilliant techniques that Hitchcock uses from time-to-time. Now, this is a movie from way back in 1938 (dude, shit's in black and white, even), and was one of the final films that the director made before making the big move to Hollywood, but it is clear that he had an incredible eye for cinema even way back then. There are some brilliant shots and a great use of perspective spread throughout, but most impressive is a quick action shot with Gilbert outside of the moving train, that is simply quite awesome.
Nevertheless, even with these fine cinematic aspects, there is a lot of sloppiness in the movie on a technical level, and it's hard to say if it's the fault of Hitchcock or the film's editor, R.E. Dearing. There are times where the confinement of a train is well portrayed, but that also leads to a handful of moments that feel very confused and a lack of flow between shots become very present. One scene that immediately comes to mind is when Gilbert and Iris are in the cargo hold, where they run into a magician that seems to be up to no good, and a fight between the three ensues. It's extremely poor in how cohesive it is visually, but what's kind of funny about this lamely filmed moment is it's one of my favorite portions of the film due to Redgrave, Lockwood and their interactions up to, during, and after the fight (as well as the comicality of the scene). That's truly a testament as to how fantastic the two are together.
Love this photo!
Hitchcock has successfully used touches of humor to break up the tension in many of his films but The Lady Vanishes is really where I found myself chuckling throughout much of the runtime. The mystery and suspense are a second thought when I think about why I enjoyed this film so much, and it is that pure comedy that can really only be found in classic cinema that won me over. More so, the pairing of Lockwood and Redgrave will prove to be one of my favorites as far as a romantic storyline goes, and for a movie to give me characters that I can fall in love with as they fall in love with each other, is truly a surprise that I never expected when I sat down with this cold glass of mystery.
Taking a leap back, I have here not one but TWO destinations for you all to check out on this fine evening. First up, over at the newest issue of BThroughZ, you can check out my review of the 80's Slasher flick, Cheerleader Camp. Staring Leif Garrett (yikes!) and Betsy Russell (yum!), how does this late in the era Slasher film play out? Well, you'll have to pack up your pompoms and head on over to BThroughZ to find out!
Hey, don't go too far now because I got more in store for you, and as soon as you get back from your cheerleading camping trip, why not take a walk on over to Strange Kids Club where you can check out my look back at Full Moon's VideoZone. When I think of VideoZone, I think of it quite fondly, and I know I am not alone in the nostalgic love for the original Special Feature. So, take a moment to drop by Strange Kids for a blast from the VHS era past!
With films spanning South Korea, France, Costa Rica and Hong Kong, this edition of Totally Tubular Trailers brings about quite the versatile mix of upcoming horror cinema for you all to chew on. So why not grab yourself a seat, tuck that napkin into your shirt and dig right in to what I've cooked up for you.
Our globetrotting begins in South Korea with one of my absolute favorite filmmakers, Park Chan-wook, whose latest film Paranmanjang (aka Night Fishing) would prove to be his most ambitious project yet. Staring PCW regular, Oh Kwang-rok, and Korean pop star, Lee Jung Hyun, Paranmanjang is a 30-minute short film that the director shot using only an iPhone. The film follows a fisherman who catches the body of a woman dressed all in white. After making this discovery, the fisherman faints, only to awaken and find himself wearing the woman's clothes. Okay?! So, as much as it's basically a big commercial for Apple, I find this whole thing quite fascinating. What can a director do using the camera found on an iPhone? But more so, what can one of the best filmmakers working do with such a device? The odd teaser below shall give you a glimpse as to what's in store.
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Keeping with the strange ways, next up is the trailer for Quentin Dupieux's killer tire film, Rubber. I mean, what else can you say about it? It's a movie about a lone, telekinetic tire named Robert, who's tired of being treaded on and goes out on a killing spree, flattening anyone that gets in his way. Set to make tracks on VOD in February, with a limited theatrical release in April, It looks like Rubber might be incredibly funny, but who knows exactly how long before the whole thing deflates and the novelty wears off for the audience.
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Next up is the trailer for Miguel Gomez' The Sanatorium (El Sanatorio), a mockumentary styled horror film following a group of young ghost hunters who get more than what they bargained for when they take a trip to the infamous Duran Sanatorium in Cartago, Costa Rica. Mockumentaries are a bit tricky, and even the best ones tend to fall flat by time the finale hits, so my excitement is curbed for the most part. Still, it does look like it could be fun and it's nice seeing someone rockin' an Op Ivy sweatshirt.
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Our final film for the day comes from Chinese director, Pang Ho-cheung, whose film Dream Home is a Slasher movie with a whacked premise and a seriously sharp looking bite to it. Dream Home focuses on a woman (Josie Ho) that will do what ever it takes to live in a beautiful home with a view of the sea. Her only problem is she cannot afford it, so she takes it upon herself to lower the property value the only way she can…by killing the people that live in the neighborhood. Like I said, it's a wild premise, and man does it look insane. This is a really well put together trailer, too and Dream Home may be the film I look forward to the most out of all of these.
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Well, that was a good ol' time, now wasn't it? Hope you enjoyed a few of these trailers I have provided. Until next time, my love.
