Films Reviews: Horror

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Minggu, 10 Mei 2015

The Babadook

An often-effective, surpringly rare horror motion-picture show maneuver is to require Associate in Nursing everyday state of affairs that’s straightforward to relate to and to ramp it up to the purpose of psychopathy. Australian writer-director Jennifer Kent’s assured initial feature is that child everybody is aware of (or has been), the one who’s thus scared of the bugbear — or no matter imagined terror haunts his nights — that he utterly disrupts his parents’ life and his own.

Young Noah Wiseman may be a force of nature as guided missile, promptly the foremost vulnerable and most irritating kid conceivable, infecting his worn-down mother (Essie Davis) with temporary state (at one purpose, he crawls into her bed whereas she’s exploitation her vibrator), having a screaming ill temper within the automotive whereas kicking the rear of her seat, and in bother for transferral home-baked monster-fighting weapons to highschool. The backstory — Amelia’s husband died in a very automotive crash driving her to the hospital to own their son — is poignant and also the portrait of mother and son bolted in a very single, escalating fantasy is riveting and awfully credible. the house stretch, that hints at the origins of the monster, is suspensive and surprising. At first, we’re cornered in a very house with a child World Health Organization is relentless in his fantasy — to the purpose wherever his mother suspects he’s producing proof of Babadook activity, like broken glass the soup. Then, the film enters deeply into Amelia’s troubled mindscape as "The Babadook", that has secure to kill her son by possessing her to try to to the deed, takes over, and guided missile has cause to be genuinely afraid. In films just like the "Amityville Horror" and "The Shining", fathers ar influenced by the supernatural to become menaces to their kids, however this can be a rare instance of the syndrome moving a mother. Davis is surprising because the drained mum, troubled to traumatize a toddler World Health Organization forever says and will the incorrect issue at the incorrect time — protesting regarding the medication he’s been given to create him sleep whereas the social services ar creating a decision. "The Babadook" shares some traits with up to date ghost stories like sensory receptor, "Mama" or "Insidious" however with a stronger character basis. It’s genuinely scarey in its jump moments, however additionally imparts a lingering sense of dread that may stick with you for days — and can positively come back to mind subsequent time you get up within the middle of the night curious what that scratching noise was. Its expressionist vogue means that it’s not simply reduced to an easy story of a psychological delusion — there's a true monster, tho' ambiguity on its nature is carried throughout to the worrisome end. The deceptive, vicious, odd pop-up book that turns up within the home with no real rationalization and triggers the crisis is bright designed, and unsettling. The Seussish-with-a-nightmare-edge illustrations ar dextrously horrid, exactly not appropriate for pliant youngsters, however still gift a unforgettable, virtually cute brand. The Babadook manifests in varied forms — at one purpose, taking drugs on late-night tv within the middle of a Georges Méliès film — strutting and denudation teeth sort of a hideous mixture of Struwwelpeter, Nosferatu, Willy Wonka, Freddy Krueger and also the Child Catcher.

source:http://www.empireonline.com/reviews/reviewcomplete.asp?FID=138767

Movie Info Six years once the killing of her husband, birth defect (Essie Davis) is at a loss. She struggles to discipline her 'out of control' half-dozen year-old, Samuel (Noah Wiseman), a son she finds not possible to like. Samuel's dreams ar littered with a monster he believes is coming back to kill them each. once a troubling storybook known as 'The Babadook' turns up at their house, Samuel is convinced that the Babadook is that the creature he is been dreaming concerning. His hallucinations spiral out of management, he becomes additional unpredictable and violent. Amelia, genuinely frightened by her son's behaviour, is forced to medicate him. however once birth defect begins to ascertain glimpses of a sinister presence all round her, it slowly dawns on her that the factor Samuel has been warning her concerning is also real.

Rating: Unrated
Genre: Drama, Horror, Mystery, Suspense
Directed By: Jennifer Kent
Written By: Jennifer Kent
In Theaters: November twenty seven, 2014 restricted
On DVD: April thirteen, 2015
Runtime: one time unit. 34 min.

IFC Films - Official Site

source:http://www.rottentomatoes.com/m/the_babadook/

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Senin, 04 Mei 2015

Jinn

Despite OK visual effects, a few chills and some newfangled movie monsters, writer-director Ajmal Zaheer Ahmad’s supernatural thriller “Jinn” often feels like one-half of an old grindhouse double bill. It’s a watchable if rather convoluted effort.

The titular jinn, according to Eastern mythology, are one of three races created “In the beginning…” (the other two are man and angels). Conveniently--for a horror film, anyway--the mysterious jinn are nothing if not flexible. These time- and shape-shifting beings can be good or bad, peaceful or violent, invisible or in your face (at times they resemble upright fireplaces). Whatever, you want them on your side.

Unfortunately for Shawn (Dominic Rains), a model-handsome Michigan auto designer married to the equally pretty Jasmine (Serinda Swan), he must suddenly do battle with a vicious sect of the jinn, the Shayateen, due to a family curse that stretches back to 1901. Suffice to say this ancestral history is news to Shawn and it’s delivered the old-fashioned way: on a VHS tape.

What follows is a frantic few days in which Shawn must collaborate with an unlikely trio of jinn experts--a shadowy priest (William Atherton), a protective tough guy (Ray Park) and a manacled mental patient (Faran Tahir)--to learn how to fight the fiery Shayateen at their own miserable game and, y’know, save the world. This demands that, among other things, Shawn pass an ancient ritualistic test called the Chillah (don’t ask).

Meanwhile, Jasmine, who may or may not be pregnant with Shawn’s child, has allegedly been abducted by the bad jinn. Cue the stacked deck.

Magical swords, evil doppelgangers, a sexy black muscle car, an unremarkable final showdown and lots of first-draft dialogue factor into this thankfully brief (about 80 minutes plus end credits) frightfest.

As for the film’s closing promise: “The Jinn will return”--don’t hold your breath.

~ By Gary Goldstein

source:http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-review-jinn-cant-rise-above-horror-cliches-20140405-story.html

Movie Info

In the beginning, three were created. Man made of clay. Angels made of light. And a third made of fire. For centuries, stories of angels and men have captured the imagination and been etched into history crossing all boundaries of culture, religion and time. These two races have dominated the landscape of modern mythology, shrouding the evidence that a third was ever created. This third race, born of smokeless fire, was named the jinn. Modern man has all but forgotten this third race ever existed. It is time for him to remember.

Rating:	PG-13 (for some intense sequences of violence and terror)
Genre:	Horror , Mystery & Suspense , Science Fiction & Fantasy
Directed By:	Ajmal Zaheer Ahmad
Written By:	Ajmal Zaheer Ahmad
In Theaters:	Apr 2, 2014 Limited
On DVD:	Apr 12, 2015
US Box Office:	$0.1M
Runtime:	1 hr. 37 min.

Freestyle Releasing - Official Site

source:http://www.rottentomatoes.com/m/jinn_2014/

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Selasa, 21 April 2015

It Follows

When director David Robert Mitchell appeared on the indie scene in 2010 with “The Myth of the American Sleepover,” few would have guessed that his next project might be a horror movie. And yet, as follow-ups go, “It Follows” makes perfect sense, applying what worked best about that debut — namely, its haunting evocation of adolescent anxiety and yearning, set against the backdrop of an atmospheric Michigan suburb — to a far more commercial genre. Starting off strong before losing its way in the end, this stylish, suspenseful chiller should significantly broaden Mitchell’s audience without disappointing his early supporters in the slightest.

From the opening scene, the pic feels different from typical genre fare: A disoriented young woman stumbles out into the street of an otherwise peaceful tree-lined neighborhood. The camera keeps its distance, slowly rotating as she runs up and down the block, trying to avoid a threat only she can see. The next morning, the girl’s corpse is found down by the lake, twisted beyond recognition.

Something scary is stalking the young people in this WASP-y Detroit suburb — the same environment where Mitchell grew up. If “Myth” was his John Hughes homage, then “It Follows” is the director’s best stab at doing John Carpenter. From the eerie electronic score to the suffocating sense of dread, the resemblance is uncanny: This is the kind of film that, if watched on VHS, might have kept the slumber-party teens wide awake in his last movie. Except that on video, they would have missed out on Mitchell’s expert use of widescreen, in which audiences are constantly looking over the character’s shoulder, scanning the frame to find the “follower.”

As bogeymen go, Mitchell’s monster is both intuitive (like something out of a bad dream) and impossible to comprehend (despite much discussion, no one seems to know how to beat it). The pic’s malevolent shape-shifter can take the form of anyone, from a beloved relative to a complete stranger. Sometimes it’s subtle enough to blend in with crowds. At others, it’s frighteningly conspicuous: a naked old man staring at you from a nearby rooftop, or a cheerleader leaking urine as she lurches across the living-room floor. The only certainty seems to be that it won’t stop until you’re dead. And once you’re dead, it will go after the person who “gave” it to you.

Judging strictly from a filmmaking p.o.v., “It Follows” is remarkably effective for most of its running time, ratcheting up the tension, then stinging the audience periodically with one of those jolts that sends everyone levitating a couple inches above their seats. But the excitement wears off after a point, once the kids realize they don’t really understand what they’re dealing with, resulting in a couple of badly staged setpieces, including a clunky lakeside attack and a virtually nonsensical climactic encounter at a public pool, where a plan that wasn’t clear to begin with goes awry.

Generally speaking, horror is only as potent as whatever fear it exploits, and “It Follows” relies a bit too heavily on a wobbly venereal-disease allegory. Instead of exploiting near-universal adolescent anxieties about virginity, Mitchell creates a situation where the infected are super-motivated to pass it on. All it takes is one ill-advised backseat tryst to turn carefree college-aged beauty Jay (“The Bling Ring’s” Maika Monroe) into a paranoid mess. As it is, the neighborhood kids are constantly spying on her, but after hooking up with the wrong guy (Jake Weary), she starts to notice all sorts of creepy people in her peripheral vision.

As Mitchell explained at the pic’s premiere in Cannes, “It Follows” marks his attempt to make a “beautiful horror movie” — equal parts gentle and aggressive. At times, his meticulous compositions rival Gregory Crewdson’s ethereal suburban-gothic photographs (sometimes staged at roughly the same budget as this admirably inexpensive feature). While “It Follows” isn’t a period piece per se, the incidents take place in a world of abandoned buildings, rusty old American automobiles and outdated landline telephones. Even without a supernatural stalker in the mix, one wants to advise these kids — who include plausible next-door types Olivia Luccardi and Lili Sepe, awkwardly shy Keir Gilchrist and faux-tough Daniel Zovatto — to run away from this dead-end existence as fast and as far as they can.

source:http://variety.com/2014/film/festivals/cannes-film-review-it-follows-1201194726/

After a strange sexual encounter, a teenager finds herself haunted by nightmarish visions and the inescapable sense that something is after her. (C) Radius-TWC

Rating: R (for disturbing violent and sexual content including graphic nudity, and language)
Genre: Horror
Directed By: David Robert Mitchell
Written By: David Robert Mitchell
In Theaters: Mar 13, 2015 Wide
US Box Office: $4.8M
Runtime: 1 hr. 34 min.

Radius - TWC

source:http://www.rottentomatoes.com/m/it_follows/

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It Follows (Perancis)

Lorsque le réalisateur David Robert Mitchell est apparu sur la scène indie en 2010 avec “The Myth of the American Sleepover,” peu de gens auraient deviné que son prochain projet pourrait être un film d'horreur. Et pourtant, comme les suivis vont, “It Follows” prend tout son sens, l'application de ce qui a fonctionné mieux à ce sujet débuts - à savoir, son évocation envoûtante de l'anxiété et la nostalgie de l'adolescent, sur fond d'une banlieue Michigan atmosphérique - à un beaucoup plus Genre commerciale. Démarrage en force avant de perdre son chemin à la fin, cet élégant, refroidisseur suspense devrait élargir considérablement le public de Mitchell sans décevoir ses premiers partisans dans le moindre.

De la scène d'ouverture, le pic se sent différent de tarif de genre typique: Une jeune femme désorientée trébuche dans la rue d'un quartier bordé d'arbres par ailleurs pacifique. L'appareil conserve sa distance, tournant lentement comme elle monte et descend le bloc, en essayant d'éviter une menace qu'elle seule peut voir. Le lendemain matin, le cadavre de la jeune fille se trouve au bord du lac, tordu delà de la reconnaissance.

Quelque chose d'effrayant traque les jeunes dans ce WASP-y Detroit banlieue - le même environnement où Mitchell a grandi. Si "Myth" était son hommage John Hughes, puis "Il se ensuit" est le meilleur coup de l'administrateur à faire John Carpenter. De la partition électronique étrange au sentiment de terreur suffocante, la ressemblance est troublante: Ce est le genre de film qui, si regardé sur VHS, auraient gardé les adolescents sommeil parties éveillé dans son dernier film. Sauf que, sur la vidéo, ils auraient manqué sur l'utilisation d'experts de Mitchell de large, dans laquelle le public est constamment à la recherche sur l'épaule du personnage, le balayage de la trame pour trouver le "suiveur".

Comme épouvantails vont, monstre de Mitchell est à la fois intuitive (un peu comme dans un mauvais rêve) et impossible à comprendre (malgré beaucoup de discussions, personne ne semble savoir comment le battre). Malveillante métamorphe de la photo peut prendre la forme de ne importe qui, à partir d'un bien-aimée par rapport à un parfait inconnu. Parfois, ce est assez subtil pour se fondre dans la foule. À d'autres, il est terriblement remarquable: un homme nu qui vous regardent d'un toit voisin, ou d'une pom-pom girl fuites d'urine comme elle titube à travers le plancher du salon. La seule certitude semble être qu'il ne se arrêtera pas jusqu'à ce que vous êtes mort. Et une fois que vous êtes mort, il ira après la personne qui "a donné" à vous.

A en juger d'un strict pov cinématographique, "Il se ensuit" est remarquablement efficace pour la plupart de son temps de course, cliquet monter la tension, puis piquer le public périodiquement avec l'une de ces secousses qui envoie tout le monde en lévitation quelques pouces au-dessus de leurs sièges. Mais l'excitation se estompe après un point, une fois que les enfants se rendent compte qu'ils ne comprennent pas vraiment ce qu'ils ont affaire à, résultant en un couple de mal mis en scène des pièces exposées, y compris une attaque au bord du lac maladroit et une rencontre culminant presque absurde à un public piscine, où un plan qui ne était pas clair pour commencer tourne mal.

D'une manière générale, l'horreur ne est aussi puissant que tout craignent qu'elle exploite, et "il se ensuit" libérer un peu trop lourdement sur une allégorie maladies vénériennes bancal. Au lieu d'exploiter angoisses adolescentes quasi-universelles sur la virginité, Mitchell crée une situation où le infectés sont super-motivés pour transmettre. Tout ce qu'il faut, ce est un rendez-vous mal avisé de banquette arrière à tourner sans soucis beauté de collège âgés de Jay (“The Bling Ring” de Maika Monroe) dans un désordre paranoïaque. Comme il est, les enfants du quartier sont constamment épiée, mais après accrochage avec le mauvais gars (Jake Weary), elle commence à remarquer toutes sortes de gens effrayants dans sa vision périphérique.

Comme Mitchell a expliqué à la première du pic à Cannes, "Il se ensuit" marque sa tentative de faire un "beau film d'horreur" - parties égales doux et agressif. À certains moments, des photographies de banlieue-gothique éthérées de sa méticuleuse compositions rival Gregory Crewdson (parfois mis en scène à peu près le même budget que cette fonctionnalité admirablement bon marché). Alors que "Il se ensuit" ne est pas un film d'époque en soi, les incidents ont lieu dans un monde de vieux bâtiments abandonnés, voitures américaines rouillées et téléphones fixes obsolètes. Même sans un harceleur surnaturelle dans le mélange, on veut conseiller ces enfants - qui comprennent les types d'à côté plausibles Olivia Luccardi et Lili Sepe,maladroitement timide Keir Gilchrist et faux-durs Daniel Zovatto — de se enfuir de cette impasse existence vite et aussi loin qu'ils le peuvent.