2008 – Father Son Holy Gore

From 2008

LET THE RIGHT ONE IN’s Tragedies of Youth

LET THE RIGHT ONE IN tells the beautiful and melancholy tale of growing up left to one's own devices.

Nothing out of the ordinary here. Yet ROVDYR (a.k.a MANHUNT) packs a visceral, brutish punch all the same.

Bronson. 2008. Directed by Nicolas Winding Refn. Screenplay by Brock Norman Brock & Refn.
Starring Tom Hardy, Matt King, James Lance, Amanda Burton, Kelly Adams, Juliet Oldfield, Jonathan Phillips, Mark Powley, Hugh Ross, Joe Tucker, Gordon Brown, & Charlie Whyman. Str8jacket Creations/Vertigo Films/Aramid Entertainment Fund.
Rated 14A. 92 minutes.
Biography/Crime/Drama

★★★★1/2

Time and again I say it: Nicolas Winding Refn is one of the directors working today whose mix of influences bleed into his talent in the perfect shade, making him a passionate artist forging his own path while still showing love for those who came before him, and above everything an uncompromising auteur. Lots of so called fans only came on after Drive became a big, unexpected hit. It’s a great flick. Not his best, though, despite being so awesome. There are a bunch of other amazing pieces of cinema that came before it, such as the Pusher trilogy, Bleeder, Fear X, and certainly this whopper of arthouse film, Bronson.
What’s lovely about Refn is that, though his style is singular and always apparent each of his movies takes on a vastly different type of world and story. That makes his electronic-score driven, gorgeously framed, dark style almost perfectly suited for the story of the world’s most infamous prisoner, Charles Bronson (Tom Hardy) a.k.a Michael Gordon Peterson. This is a true story. Well, sort of. Refn is able to provide the surrealist atmosphere for the plot to play out in the right sense. We’re never quite sure if what’s occurring in front of our eyes is truthful, a part of Bronson’s built up and enhanced self image, or if Charlie’s actually full-on mad. The screenplay from Refn and Brock Norman Brock lets us escape into the mind of a man who defines ‘product of the system’ in a way that’s never before been allowed with other prison films. And for all Refn’s excellency as director, Bronson is so effective due to the tornado force performance out of Hardy. He is a revelation and one worthy of every bit of hype the media gives him. Hardy and Refn together with the foundation of a character like Bronson, an unbelievably real man, makes for one of my favourite films post-2000.

Something I love about this story is what Roger Ebert echoed in his review of the film. The fact Refn and Brock make no attempts to explain away the behaviour of Bronson is exactly what makes the movie enjoyable. At his core, Peterson – who took the name Charlie Bronson as a fighting name – is a horrid sort. You can’t always use that label I previously mentioned, product of the system, as a way to rationalise the actions of bad people. Sure, Peterson was likely changed into who he ultimately became because of his incarceration and the time he spent institutionalised. However, I truly feel that in his heart Peterson has the seed of evil. Maybe not full-on evil, but certainly of badness. He’s not a relentless murderer. Yet a dangerous individual no less. His incessant fighting and rage is a plague, on him, as well as more importantly on everyone around him. So I find there’s a fine line drawn between making an excuse for someone who’s a ward of the system, essentially, and someone who could very well just have on real conscience or concern for growing as a person, other than in the sense of physical growth in order to be the best fighter possible.
In turn, Hardy makes the central performance vibe well with the intentions of the overall story and its themes. He gets the character right in terms of the swagger, the mentality and the outright madness. He is physically intimidating, he’s also funny and charming in a brash way. There’s a ton of different feelings you get about Charlie throughout the runtime of the movie, and Hardy is always pushing you. There are moments you don’t think you’re meant to laugh, but you do. There are moments that you’re not sure if fear is the appropriate response; it is, very much. And most of that is Hardy bending the screenplay to his will. Making the character memorable and fierce. There’s not a single shot where Hardy isn’t making you think or compelling you further into the personality of Bronson. Whether that’s a good thing, you be the judge.

Another aspect that’s interesting to me is the idea of celebrity and persona. Peterson becoming the alter-ego of Charles Bronson is the first shift in his identity where we see that he’s to become a celebrity. Or more so that he’s to become famous, or infamous is the best way to describe it. The surrealism of the script, jumping from one mad scene to the next, is what brings everything out, as the larger than life persona is represented admirably via the stage play moments. As Bronson recounts to us his life he becomes the circus ring leader, the lead performer – at once he’s the star of the show, the next he’s a different character with lipstick and manicured nails and drawn on hair to boot.
These scenes allow us to look into the confused identity that is Bronson, the man formerly known as Michael Peterson. “You can‘t tie that up in a nice little pink bow,” an art instructor tells Charlie about the picture he’s drawing, a perfectly poignant commentary on the man himself: “Nah you can‘t pin me down, mate,” replies Bronson. Best of all, those stage play scenes give us a window into the soul of Charlie, as we fully understand how lonely the man is and what drives him: he needs, and wants, an audience. After so much time alone stuck in cells and having only time inside his own head, that stage is both an escape from this life, and it’s also a cry for help, the want for an audience. Maybe that’s all he ever needed; not incarceration, but rather attention, care, kindness. We’ll never know, though, and this is part of why I love the film. Refn gives us plenty upon which to ruminate. He never proposes any answers, nor does he make it seem like that’s his aim. His objective here is to fall into the headspace of the truly veritable headcase that is Charlie Bronson.

This one is at the top of my Refn list. I’m a fan of every last bit of his work. He is a very interesting director and writer. His style is tons of fun, it is vibrant and always compels you to keep you watching, if only to figure out what’s about to happen next, and how it’s going to be expressed. Bronson is one of his more surreal efforts, in line at times visually with Valhalla Rising in its strange beauty. Tom Hardy can get into the skin of any character. He relishes every moment as Bronson, putting his heart and soul and limbs into each scene. Not many actors are willing to get naked and pain themselves, have their ass greased with butter (and by another man), to fully commit themselves to the insanity of a role such as that of Charlie; Tom is one of those few actors that can go to the lengths required. There are many times you’ll wonder where exactly the plot is moving. Let’s just say it never goes far. But not every story has a plot that moves in the typical fashion from Point A to B to C through to a nicely wrapped finale. Bronson is a series of scenes that accurately depict the loneliness, brutality, and all around uncontrollable personality of a man you’d never in a million years believe to be real, if he weren’t so well known. Along the way you’ll laugh, you will cringe. All appropriate reactions. This is a character study which pulls you along on the tails of music (from the atypical Refn electronics to popular classical pieces) and violence featuring one of the greatest performances you’re likely to ever witness.

In Bruges: Comedy, Crime, Cheeky Cunts

In Bruges. 2008. Directed & Written by Martin McDonagh.
Starring Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clémence Poésy, Jérémie Renier, Thekla Reuten, Eric Godon, & Ciarán Hinds. Scion Films/Blueprint Pictures/Focus Features.
Rated 18A. 107 minutes.
Comedy/Crime/Drama

★★★★★

Martin McDonagh is a treasure. His writing in all forms is exceptional and he’s often very capable of subversive storytelling. As a writer myself and someone that tries his hand at writing for the stage, McDonagh’s The Pillowman completely shattered my preconceptions of what theatre is meant to be and how you can present difficult, wild topics to the audience without shattering them too much. Not just that play, his other works for the stage are great, too. Most of all he defies expectation.
In Bruges is a proper McDonagh mix of black humour, crime, a dash of love, and a nice heap of violence. The actual setting of Bruges, Belgium adds an interesting element. Amongst all the architecture out of the 15th century this story of conflicted criminals plays out, juxtaposing this beautiful, old city with the dirty, gritty crime happening below its surface. Anchoring the script are three performances that allow the wit in McDonagh’s characters and their dialogue to work magic. Brendan Gleeson, Colin Farrell, and Ralph Fiennes are all equally important to the success of the film. They each give the comedy an edge and bring out every last stroke of genius in the writing.
There’s plenty to lap up in this dark comedy. It isn’t only funny, it has an impressive amount of emotional weight. In the skin of an everyday crime-thriller, McDonagh creates laughter while simultaneously pondering the existential crises involved in the world of cheeky hitmen with consciences. I haven’t enjoyed any other comedies this much since about 2000. Definitely stands as one of the best in the past couple decades, no question.

The comedy is beyond riotous. Little moments such as when the fellas run into an overweight family and try to warn them about going up a tower with narrow halls; Harry’s telegram to the hotel for Ken with “fucking” on every line at least once; the conversation between Ken and Ray about a “lollipop man” and their various musings on morality; that perfectly awkward yet hilarious scene where Ray punches out a man and his girlfriend, not just funny on its own but taking us back to the earlier conversation with Ken about if you’d hit a man wielding a bottle at you. One favourite moment is after Harry calls Ken and asks about Ray, questioning if he’s only having a wee, or if it was a poo.
There are far too many single moments and scenes to call out individually, lest we spend this entire review recounting every last chuckle.
There’s a major darkness cast over the plot, as well. Ray kills a priest, but in the crossfire winds up taking the life of a young boy. This haunts him, obviously, as the film moves on and the two hitmen move to the next supposed job, and never are those thoughts far from his mind. Of course this is also what puts them in Bruges in the first place. The darkness continues after we figure out specifically why they’re in Bruges – we assume early on it’s a job, and it is, however, there are complexities to this sticky story.

Part of the setting of Bruges is almost akin to Limbo, a Purgatorial stop before Ken and Ray face their final judgement. Perfect enough, Ray notices a painting called “The Final Judgment” by Hieronymus Bosch, which depicts a scene where people are laying dead all over the ground, as the saviour floats above in the sky ready to accept those who last through what I assume is The Rapture. Furthermore, other paintings concerning death and its approaching presence are in the gallery the men visit. This all comes after Ken is told by Harry that the job he’s on is Ray’s own murder, for botching the priest job. There’s a moment at the end calling back to these paintings, as Ray literally winds up in the middle of one life-sized replica of those paintings with their imagery of death.
The transition into an almost otherworldly space, this idea of Limbo, comes through the Bosch imagery once more. When the hitmen arrive in Bruges at first the place is bright and beautiful, the landscape is all light. Everything seems wonderful. As time passes, the visual aesthetic goes from light towards the dark. Then literally even the characters out of the Bosch painting turn up on the film set, wounds from images in the painting are similar to those Ray ends up with after getting shot. So even if this is a comedy there’s no less care for fine tuned filmmaking. This is an impressive feature debut from McDonagh. His experience in theatre lends itself to having a specific visual style. Not only does he know how to block scenes and dress a set to make things look interesting, film as a medium gives a director (particularly one whom might be considered an auteur) the aspect of post-production, of not being live, and so much more. McDonagh uses this every bit to his advantage.
Ultimately there’s an emotional component to the story, aside from all the darkly humorous bits and the dashes of violence and everything else. Once Ken gives Ray a chance to redeem himself there’s a glimmer of hope in all the shadiness. And as the plot wears on closer to the end there’s more significance placed on the relationships between characters. Harry even comes across as a real person after all his dour attitude and vitriolic dialogue, though that goes how it does and there’s no love lost. But just the brief moments where Harry and Ken discuss their past relationship are enough to flesh their characters out before the conclusion. Before that, we get a good look at how Ken and Ray have gotten close in their short time together, as the former essentially sacrifices himself in order to let his younger friend have a chance at redemption. This entire tangle of emotions sets up an excellent finale, equal parts tragic and wild.
One great moment I love so much (WARNING – SPOILER AHEAD) is when Ken uses the coins he’d tried to pay his into the tower with earlier to make sure nobody is standing below when he decides to jump. In an ironic, dark twist, if he were to have been let in minus ten cents then he’d not be able to warn people below the tower, and likely wouldn’t have ended up jumping at that moment. Small bits such as this are what makes McDonagh’s writing so intriguing.

I’ve always admired Brendan Gleeson as an actor. He’s versatile and simply a powerful talent. The writing of Ken as a character is good enough, but his portrayal makes it much more than entertaining. He shows us how a seemingly friendly guy can be part of this ugly world, of murder for hire, so on. More than that, through his relationship with Ray, the character of Ken develops and he comes to this point of realization later, culminating in the showdown between him and Harry. The range of which Gleeson is capable helps make this guy real, as Ken becomes a character with whom we can empathize, despite the fact he’s a hitman. That likeable, jolly quality in Gleeson comes out to help us relate to the man. Yet he’s always capable of being intimidating, so the contradictions in his character are remarkable in his hands.
Colin Farrell is the one I enjoy most. There are likeable qualities to both these men. Although Ray comes with an even further, almost innocent sense about him. This is in total conflict with the fact he’s killed a boy, though unintentionally. Still, this tough reconciliation is the crux of how we view Ray, how we experience what he experiences and assess that within ourselves. Farrell is a fucking laugh. Everyone’s funny, but he makes this all the better for playing the character so well, completely embodying Ray.
Then you can’t not love Ralph Fiennes. He’s another actor of whom I’ve been a massive fan for years. Fiennes is beyond talented. His depiction of Harry is different from all the same old British gangsters you see in so many other movies because he’s another contradictory sort, being a gangster and also being a loving father and husband. Well, he also has a strict moral code. He wants Ray dead for his mistake of killing a child, likely due to his own kids. So is he really all that contradictory? Yes, a vicious businessman in the murder industry. Yet obviously he keeps children out of it, probably women – that’s only a guess. Still there is a moral code and he tries sticking to it. You’ll see how closely when you get to the finale.
With a cast like this and the subversive, witty, dark writing of McDonagh, In Bruges is easily in my top ten comedies of all-time. If not the top five. Everything about it is so perfect and well placed that it’s hard not to enjoy each second. Farrell and Gleeson have a chemistry that’s hard to find, so there’s a buddy comedy aspect. Though one that’s pretty strange and way more hilarious than the atypical relationship we’d see in (most) American (Hollywood) productions. There’s so much to love. The cinematography of Eigil Bryld that makes Bruges leap off the screen into your lap. McDonagh and all his talents. A lead cast with more humour chops than the casts of most popular comedies (coughThe Hangovercough). If you can’t love this, that’s fine. It’s black comedy, pitch dark, at its best. Not everyone can dig it. For those who can there aren’t many modern comedies willing to be so darkly funny. Tuck in, enjoy.

The Bleeding Religion of Pascal Laugier’s Martyrs

Martyrs. 2008. Directed & Written by Pascal Laugier.
Starring Morjana Alaoui, Mylène Jampanoï, Catherine Bégin, Robert Toupin, Patricia Tulasne, Juliette Gosselin, Xavier Dolan, Louise Boisvert, and Jean-Marie Moncelet. Canal+.
Rated R. 99 minutes.
Drama/Horror

★★★★★

Martyrs is most definitely a bloody, gory, savage film from beginning to end. Of course those bits alternate, as well as the fact Pascal Laugier builds up tension very nicely at so many points. But there’s no doubt about the savagery contained within this horror movie.
There have been many gory movies in the history of horror film. From Herschell Gordon Lewis’s Blood Feast and Wizard of Gore, among others, to stuff like Saw, then classic horror such as many of Fulci’s films and Dead Alive from Peter Jackson. So there are many ways in which gore can play a part in a horror movie. It can either be so-called “torture porn” (those who’ve read my reviews before know my stance on this dumb label; I only use it for ease), or it can serve a purpose of some sort. What I’m saying is that gore need not be useless, just some element thrown in to make a horror more scary, more effective. It can be used as a means to an end, rather than an end in and of itself.

To me, Martyrs is one of those films with all the blood and gore to satisfy even the most desensitized horror hounds, but even further it has heart, character, and a ton of interesting, complex story to boot. Laugier has a masterpiece of horror here and I think that the writing helps to elevate this from simply another gore picture, to a profound horror which leaves its visceral, bloody mark on the viewer long after the credits stop rolling.
The movie starts with a quick scene of a young Lucie running in a tanktop and underwear down the street, screaming for help. She’s brought to an orphanage where she comes to bond with a girl named Anna.
Years later, grown up Lucie (Mylène Jampanoï) goes back to the little house from which she’d escaped years earlier, running away bloodied and in a frenzy, then kills the mother, father, and the kids inside. Calling Anna (Morjana Alaoui), the two women then begin to try and pick up the pieces. Only Lucie seems to be having trouble with something inside the house. After the unthinkable happens, Anna is left to try and figure out how to proceed from then on. Only, the house hides more secrets, things Anna couldn’t possibly anticipate. As she goes down into the basement, discovering what amounts to a whole complex underneath its foundation, things are revealed which will shake her world and her beliefs forever.

Watching this again for the dozenth time or so now, I forgot how awesome the music was during the moments with the ‘thing’, as it first encounters Lucie (Mylène Jampanoï). It has this almost heavy metal, ominous, pounding rhythm. Very intense. Then the rest of the film there’s also more nicely composed score. Alex & Willie Cortés do the music in this film. They also did music for an interesting independent film called Eden Log, also worth checking out. This was the first time I’d noticed any of their work, and other than the aforementioned film I haven’t seen anything else with which they’ve been involved. Doesn’t matter; their work here speaks for itself. I thought it worked well with so many of the tense scenes. A good bit of music helps to increase the mood, which Laugier helps set through dreary atmosphere and even a bit of the unexpected in there, too.
For the first half an hour when I saw Martyrs initially, I had no real clue what was going on. While I knew roughly that something obviously happened between Lucie and the family she slaughters, when the ‘thing’, the terrifying and hideous woman first showed up I couldn’t figure out what the hell was beginning to come out.
We get bits and pieces, slowly, then finally the plot starts to filter out. This is ultimately the greatest part about the film. Laugier puts the gore together with an innovative, refreshing story, and this makes the entire gorefest so much more worth it for the thoughtfulness on Laugier’s part.
And in the meantime, the gore and the effects are incredible! The first woman, the ‘thing’, looks out of this world. As if her outer layer of skin had literally been peeled off. I mean, kudos for that. Then comes the woman whom Anna later finds in the basement; when she’s trying to take the metal blinder thing off the woman’s skull, it actually made me cringe once or twice. I’ve seen a ton and that still got to me. Gnarly!
Perfect work in terms of special makeup effects. I have to mention Benoît Lestang – other work includes: The City of Lost Children, Brotherhood of the Wolf, and Amen. Then there’s also Adrien Morot whose credits range from Alejandro González Iñárritu’s upcoming film The Revenant, to Noah, X-Men: Days of Future Past, to smaller work on indies like Rhymes for Young Ghouls and Canadian television series Durham County starring Hugh Dillon. In Martyrs, these two artists come together to make some truly effective, disturbing, and nasty work. Wonderfully macabre business!
I don’t think there’s any possible way two actresses other than Morjana Alaoui and Mylène Jampanoï who could’ve done a better job with these two characters. There’s a true, evident connection between the two women. Even though there’s not a particularly massive amount of character development, nor do we get to know either of the women overly well, the deepened relationship between Anna and Lucie is clear, as they’re both there for one another. Particularly the fact Anna obviously loves Lucie, maybe more than just a friend. Yet either way, she did so much for Lucie, to try and help her get past whatever it was that happened to her as a young girl in that awful house. So with a small amount of time, Laugier is able to setup a perfectly believable and emotional relationship between the two women while not having to focus too directly on any expository dialogue, or even flashbacks of any sort.
This leads to another aspect I loved – the backstory for what is going on in the house. There’s so much more going on than I’d ever imagined from the start of the story. Once things kick in, as Anna is left behind following Lucie’s tragic death, they really take hold of the jugular.
After a while, the story comes out that these people were a part of some larger, obviously heavily funded, operation in which people were essentially being groomed into martyrdom. This is martyr in the sense of being “witness”, or bearing witness; in this film, it is bearing witness to what lies beyond death in the afterlife. Like a sick type of experiment – well, not like, that’s exactly what it is: an experiment. They take humans – especially girls apparently because they’re even more resistant to the pain overall; tougher and built for martyrdom – then they subject the human body to everything, to and beyond the limits of what a person can handle. I think I found all the pictures of the previous martyrs especially chilling! First, we see them almost meaninglessly as Anna walks through the newly discovered, sterile-like environment in the basement. Then later on, it’s all explained, and the gorefest which preceded everything begins to truly mean something.
Now, whether or not you think that something is a load of crap or not, that’s another story. I thought it was twisted and depraved and perfectly suitable. In a way, it subverts our expectations of horror films that get labelled stupidly as “torture porn”. We expect this is all just sick pleasures and people getting off by torturing others. Yet the deeper Anna takes us into the house and its catacombs beneath, the chambers and labs and rooms below, there seems to be more and more to this supposed torture. I thought the script was an excellently refreshing horror on Laugier’s part and it’s nice to see something with all the earmarks of a typical gory horror, which ends up being more than a sum of bleeding and dripping parts.
There are a bunch of ways you can look at the film, if you want to dig deep into as a metaphor or analogy of some sort. Whatever way you cut it, I think there’s a lot to offer in the story of Martyrs. You can look at it as ultimately the story of what lengths some people, under the guise of “faith” will go to figure out if there is anything beyond the pale of death. You can also look at this as how society, many groups in particular, heap all the weight and harshness of the world onto women; as the villainous lady in the film says herself, women are better at taking the pain, they have a higher threshold and tolerance for it, therefore they make the perfect candidates for this imposed and supposed martyrdom. We’re able to digest Laugier’s work in any number of ways, but regardless it’s stellar. I think you can take from it what you will – at face value, or something with a little more value under the skin.

This a masterpiece of horror, as I’ve said before. Absolutely 5 stars. Pascal Laugier has an incredibly twisted eye for horror and I think he brought all this forward in Martyrs. Truly great horror movie. It has everything from an interesting backstory, well-written characters, great performances, and on top of all that there is a near non-stop gore machine pumping out the wonderfully macabre and nasty makeup effects.
If you’re a horror fan, you need to see this honestly. I think if you take the time to let the plot sink in, take the ride for the first 20 minutes to half an hour, this will really get under your skin. Plus, if you watch it on Blu ray the sound and visual quality is extraordinary. Couldn’t get enough.
There’s a good deal of interesting work here that doesn’t often come along in horror anymore. One of the best modern horrors I’ve seen. Period.

Jack Bauer v. Supernatural Forces in MIRRORS

Mirrors. 2008. Directed by Alexandre Aja. Screenplay by Alexandre Aja & Grégory Levasseur; based on the film Into the Mirror by Sung-ho Kim.
Starring Keifer Sutherland, Paula Patton, Cameron Boyce, Erica Gluck, Amy Smart, Mary Beth Peil, John Shrapnel, Jason Flemyng, Julian Glover, and Ezra Buzzington. New Regency Pictures.
Rated 18A. 110 minutes.
Horror/Mystery/Thriller

★★★
For starters, I’ve been an Alexandre Aja fan for a long while now. Ever since I first saw Haute Tension (English titles: High Tension & Switchblade Romance) I thought that Aja had a sense of old school horror in him.
I continue to feel that way. While some people really might not agree, I think even his lesser films have things worth enjoying, worth taking away – sometimes that may just be the effects, parts of the script, or the story. Regardless I think that Aja carries with him some old school horror movie sensibilities in terms of his use of practical effects (though at times he does opt for some shitty CGI I must admit), as well as the stories he chooses to film.

Mirrors is the most supernatural horror that Alexandre Aja and Grégory Levasseur have written together. It still has a bit of a realistic feel because of where the story goes eventually, however, there’s always that strong supernatural vibe going on from start to finish. In this way, it’s a little different from almost anything else that Aja himself has directed (of course since then he’s also done the fantastic Horns).
While it is not particularly great, I think the movie has merit mostly because of a creepy and weird story, and at times amongst some bad CGI effects we’re treated to a handful of really awesome practical make-up effects shots courtesy of Howard Berger, Gregory Nicotero, and some other wizards from KNB.
Ben Carson (Keifer Sutherland) is a former NYPD detective. He killed a man in a shooting some time ago after falling into a downward spiral of alcoholism; disgraced, he retired from the force. He’s cut off from his children most of the time, as his ex-wife Wife (Paula Patton) has custody of them both.
To try and make ends meet, Ben works as a security guard. Now he has a new job as the nightwatchman for the Mayflower Department Store which had been partly wrecked with fire years before. There, he begins to experience strange phenomena. Worse is the fact the last nightwatchman cut his own throat with a piece of glass from a mirror in a subway station bathroom.
Eventually Ben starts to feel as if the mirrors aren’t being looked into – they are looking out. And he does not like what they’ve started to project, as it slowly begins working its way out of the Mayflower Department Store, into him, into his life. Things get worse, until soon enough the things in the mirrors are following Ben home, to the home of his ex-wife and children. Unfortunately for Ben, at first nobody believes him because of the medication he takes while trying to stay off the booze. That all changes once the things in the mirrors reveal themselves to everyone else around him. Then, nobody is safe.
I really do love the opening sequence. An unwritten horror movie rule is that you need one of those opening scenes that POPS, usually a murder – maybe even the murder that begins the whole story. Doesn’t have to be that, but you know what I mean. There are many variants, yet a ton of horror movies all start out that way with a scene that’s meant to get our adrenaline going, getting the terror started. Mirrors does a fine and bloody job of starting things out. A worthy opening scene to the many that have come before it.

Throughout the movie there are definitely a few instances of terrible looking CGI shots. I think that’s overall one of my biggest problems. When you’re doing a supernatural film, especially, you really need to either do practical effects the whole way through, or you’ve got to be able to put up some quality CGI that doesn’t make things feel so fake and awkward.
One of the worst, to me, is when Ben Carson (Sutherland) thinks he’s on fire, looking in the mirror; he drops and rolls around, the fire consuming him all over the length of his body. Though, he is not on fire it’s meant to look and seem very real. In opposition to that, it doesn’t look any bit real. I’m not saying you’ve got to put someone in danger by lighting them on fire to get the shot, but does the alternative have to be awful effects? Either do it right or forego doing it at all. It was like watching Keifer Sutherland wriggle around in a green-screen blanket or something. Really rough to watch.
I don’t want to lay any blame for this scene on Grégory Levasseur especially. Unfortunately for him, Aja had to leave set to be with his wife who’d prematurely gone into labour, so Levasseur took over duties on this scene. I guess ultimately he didn’t have either control or say over the special effects in that scene, but either way he could’ve been part of the problem. He only recently directed The Pyramid, which I enjoyed yet was not great, so at this point in 2008 he probably didn’t have too much experience behind the camera as a director.
With that being said, I’ve got to commend the really well-executed make-up effects on the part of Greg Nicotero, Howard Berger, as well as other artists from the KNB EFX shop. These guys have done so many films and shows, everything from The Walking Dead to Day of the Dead, Misery, Evil Dead II, Phantasm II, and so many more between them all.
A great and classic horror movie death happens in this film. BRIEF SPOILERS AHEAD!
Angela Carson (Amy Smart) dies while in the bathtub: her reflection grabs the top and bottom of her own jaw, starts ripping, tearing it open, upward until the whole thing just starts hanging loose, tongue out, bloody and gore everywhere. The water is full of blood. One of those real gory horror scenes that is enough to satisfy a lot of gorehounds out there! The effects in the beginning as she starts tearing involve a slight drop of CGI, however, the after effects and midway through the process are all practical; looks amazing. I thought so, anyways. Some true gore.

Not a huge fan of the acting, I must say. Mostly it’s only Sutherland who impresses me, and even he doesn’t exactly swing for the fences in a full-fledged, honest effort. I’m not saying he’s bad, at all, I just think that at times he’s a bit too flat. He plays that broken down guy well, there’s no doubt. But it feels like he doesn’t go from one place to another, there’s always this stagnant feeling to the Ben Carson character. Neither is he meant to go and turn into some new person, I just feel like there’s not much range here in Sutherland. Maybe that isn’t his fault, either. Could just be the script from Aja and Levasseur didn’t give Carson enough life on the page. Because I certainly think Sutherland is a good actor – not a fan of his Jack Bauer turn but I love him in Stand by Me, Freeway, A Time to Kill, and more. So he’s capable of range, I just don’t see much of it in the character itself, therefore we don’t see much out of Sutherland. Though, what he is given he plays well. As I said, I buy him as that sort of broken down, washed up/disgraced former cop figure. With that bit, he does what he can.
Otherwise, as I said, no one else truly grabbed me other than a couple of the supporting actors with creepy parts to play. Paula Patton certainly did not do anything for me; I find her bland and could take her or leave her, preferably she’d be left.
By far, my favourite part about Mirrors is the backstory of what’s going on inside the Mayflower Department Store. Once the film gets to the 1 hour 20 minute mark and Ben Carson is starting to unravel the Esseker mystery, this is where things get fairly creepy and unsettling. Not that it’s like blow your socks off scary, I just enjoy the mystery, the creepy moments when Carson goes to see the nun, tracking down information, it’s all pretty disturbing. I dig that whole final half hour. It’s by no means perfect, but it has that macabre backwoods element which I really love. To tell you the truth, I could’ve gone for a prequel where Aja explored the origin story in fuller detail, showing the Esseker girl and the lead-up to everything, her ‘possession’ or what not and that whole angle. The execution leaves something to be desired, all the same I thought Aja and Levasseur did a decent job with the story as opposed to the lacklustre work they did with dialogue and character development.
In the end, I’ll give Mirrors a 3 out of 5 stars. It’s not the worst of what Alexandre Aja has to offer, however, I also can’t say it’s one of his best. A mid-range effort on his part. Mostly, it’s the CGI and nonsense in the plot that throws me off, coupled with not a whole lot of stellar acting. The writing could’ve been done much better. There’s not only bad dialogue, there is a major lack of character development, as well as just some parts that didn’t feel to make a whole lot of sense even when it comes to the movie’s own internal logic. The finale was my favourite part, yet even some points there I said to myself “Hmm what?” and didn’t exactly feel like things went where they needed to go ultimately.
Also the ending sets things up for a sequel. I hate that. You can go for a downbeat, horrific ending that doesn’t have to be a lead-in to a sequel, which it feels like here. This would’ve worked with a haunting, open end but instead it’s like Aja just wanted to set it up so that someone else could spin this into another film.
Aside from those points that I thought were lacking, or were downright bad, I do enjoy the backstory of the film. There’s a lot of creepy things going on in that story and even if they were not represented as accurately and effectively as possible to maximize the horror/terror in the final product, I still think Aja did a decent job at trying to draw out some of the creepiness that was there. All in all, this is not something I’ll probably watch again, though, I did enjoy it enough to seek it out to review it and then watch it for a second time. This will be my last. I much prefer Aja’s remake of the Wes Craven classic The Hills Have Eyes, his French gore horror masterpiece High Tension and his film adaptation of Joe Hill’s novel Horns, and still there are a good deal who think the latter of those two is garbage; maybe some even don’t like the first. But me, I love Aja, and even though this is far from a great horror, I still give him credit for trying to instil a bit of old school-ness into his films, whether it be classic style supernatural ghost story stuff or the presence of some wild practical make-up effects.
Just search elsewhere to find his best work, you aren’t going to find it in this film.