I DON’T FEEL AT HOME IN THIS WORLD ANYMORE & Justice in the Real World

I Don’t Feel at Home in This World Anymore. Directed & Written by Macon Blair.
Starring Melanie Lynskey, Elijah Wood, David Yow, Jane Levy, Devon Graye, Christine Woods, & Robert Longstreet.
Film Science/XYZ Films
Not Rated. 93 minutes.
Crime/Drama/Thriller

★★★★1/2
img_0007Ever since seeing him in the fantastic indie Murder Party, Macon Blair draws me to his work. Just a couple years ago Jeremy Saulnier went ahead and gave him the spotlight in the story of amateur but passionate revenge, Blue Ruin, and last year Blair also turned up as a neo-Nazi with a heart still beating somewhere deep down in the immensely impressive Green Room.
A year after, Blair comes to us via Netflix with I Don’t Feel at Home in This World Anymore, starring Melanie Lynskey (who along with her role in “The Birthday Party” from anthology horror movie XX is experiencing a big surge in her great career) and Elijah Wood. Channelling energy no doubt gleaned from his time working in front of the camera for Saulnier, Blair writes and directs like he’s been doing it for ages. The pacing, the directing, his tense, darkly comic, and at many times his cathartic script all make for an inventive debut feature. Even better, the timing of this film is on the nose; when North America’s been gripped by a steady stream of hate billowing out of the aftermath from the 2016 U.S. elections. I don’t think Blair anticipated such relevance, and wanted to just make a solid crime-thriller. Despite authorial intent, his work feels perfectly at home in this world heading on from 2017, surely expressing the feelings of many Americans in the story’s reluctant yet driven to the brink protagonist.
img_0008Everyone is an asshole. And dildos.”
The opening moments are awesomely comic and dark, as well. From an old lady’s vulgar last words to an awkward parking lot encounter, a look of existential frustration on the face of our protagonist Ruth (Melanie Lynskey) as oblivious shoppers cut in front of her in the cashier line or don’t bother picking up items they knock off shelves, to dog shit left on her lawn and a random man in a bar ruining the latest book in a series she’s reading – Ruth’s introduction to the viewer is a concise explanation of the film’s title. Watching her life in these short, informative bursts during the opener is a proper visual thesis.
Blair’s story is at once familiar and totally unique in its own skin, as we see the age old tale of person pushed to the limits of what their humanity and pride can tolerate. Ruth refuses victimhood any longer. After suffering the myriad of small injustices offered by the world on a daily basis, she snaps when a truly shitty act of criminality forces her past the point of silence, towards reclaiming her life via vengeance. Only, as in real life, the film shows us how even well-intentioned revenge doesn’t always go as planned. Perhaps the greatest aspect of I Don’t Feel at Home in This World Anymore is its dedication to reality, in that it refuses to deny the messiness of being human.
img_0009Ruth: “What are we doinghere, this world?”
Tony: “Trying to be good. Or be better.”
A large focus of the plot becomes the idea that, in today’s society (and for a long time), the focus lies more on what a victim must do to prevent being victimised, rather than preventing and punishing criminals properly. We see this particularly in the case of rape victims, which contemporary internet culture and social media has made even worse, as women who’ve been sexually assaulted and raped often hear what THEY should have done instead of society working on the men who commit such atrocities.
For instance, the police officer assigned to Ruth’s case all but refuses to take her seriously. All because she left her door open. This is just about the epitome of the idea that victims are treated like they’ve done something wrong. The cop keeps bringing up the fact she left the door open, so it negates her troubles; there are better things to do for cops than worrying about people who are asking for it. And that’s the bottom line, that the police, sometimes, would rather blame someone for what they did to supposedly bring on the crime than do work to find the criminals responsible. Because sure, she left the door open, that’s still not an invitation to be robbed – robbery is still illegal – exactly how a woman getting too drunk or wearing sexy clothes is NOT an invitation to assault or rape or anything else. Not sure if this is what Blair was getting at. Regardless, he gets to the heart of the issue with Ruth’s journey towards civilising her small pocket of the world. And further than that, how the police won’t help and make it harder for her to find justice, we see how many people in this crazy world are pushed to take matters into their own hands and find vigilante justice.
img_0010There’s so much, too much, to love. A scene involving an old man pawnbroker morphs from a hilariously sneaky scene into something more surreal, slightly horrifying, though entirely funny in a grim sense. Then there’s one bloody, climactic moment of pure violent madness before the last few scenes that works wonders. Continually, from plot events to bloody violence, the film sticks to the idea of real life. Events occur as in real life: spontaneous, weird, ugly, brutal. The plot heads in unexpected, dangerous directions, as Ruth winds up from where she’d ever anticipated at the beginning, reflected in the blood and cracked windpipes and stabbed stomachs Blair offers up on screen.
I Don’t Feel at Home in This World Anymore has everything I expected. One of the most fun, and equally wild, film experiences I’ve had over the past year, definitely a contender for the films I love most at the end of 2017. Lynskey is pitch perfect in the lead, both innocent and strong in her own right, flanked by Elijah Wood in a role he owns; the others in the cast fill it out with class.
Blair does more than I could’ve imagined. I knew his debut would go over well because he’s got an old school sensibility about him as an actor; this translates to his directing with force. Every move of the story feels expertly paced, each scene directed and shot with precision. A crime-thriller that resonates with the modern state of America. Plus, yet another huge reason why Netflix deserves credit for letting directors – from TV shows to fictional and documentary features – take the reins of their vision and steer it how they see fit.

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Cooties: It’s Okay to Kill the Children

Cooties. 2015. Directed by Jonathan Milott & Cary Murnion. Screenplay by Leigh Whannell & Ian Brennan.
Starring Elijah Wood, Rainn Wilson, Alison Pill, Jack McBrayer, Leigh Whannell, Nasim Pedrad, Ian Brennan, Jorge Garcia, Cooper Roth, Miles Elliot, Morgan Lily, Sunny May Allison, and Armani Jackson. Glacier Films/SpectreVision.
Rated R. 88 minutes.
Action/Comedy/Horror

★★★★
2490326_bigOfficially out now on iTunes, Cooties was announced a little over two years ago. I remember seeing the premise alone and thinking this would be, at the very least, a bit of a good laugh. Admittedly, I’m not actually huge on horror-comedies. Funny that I love comedy and I am way in love with horror, yet the combination of both isn’t something that immediately appeals to me.
That being said, there are definitely instances of horror-comedy I’ve loved. Like Shaun of the Dead, which is almost the pinnacle to me of the sub-genre. There’s also Dead Alive, Gremlins, pieces of An American Werewolf in London are definitely full of comedy, Return of the Living Dead, House (a favourite of mine), and many more.
Cooties isn’t perfect, but it’s one of the best horror-comedy films to come out in awhile. There are lots of good laughs, solidly executed horror, and a pretty excellent script. This movie never takes itself too seriously; not to a fault, but enough to make it feel genuine. Some good performances help the whole film succeed, even in its slower moments. Rainn Wilson, of whom I’m not a fan, actually is pretty awesome. Not just him: Elijah Wood is great, Alison Pill cracked me up almost constantly, Nasim Pedrad played such an amazingly satirical character and proves she’s a real good comedian, and even the other much smaller roles had me in stitches.
But it’s the horror I love – the sweet, sweet horror.
Screen Shot 2015-09-18 at 10.25.24 PMThe opening sequence of the film is pretty spooky, as well as nasty. Like churn your stomach nasty. Tainted nuggets… need I say more?
After this opener, Cooties shifts into comedy/dark comedy mode for a little portion. Which works extremely well. From a screenplay by Ian Brennan and Leigh Whannell, the comedy is genuine. It’s not awkward comedy, as some might expect seeing Rainn Wilson, however, it isn’t at all. There are some hilarious moments, especially from Elijah Wood whose character has a boyish charm while carrying the weight of the adult world on his shoulders; a writer trying hard to be whats he wants, stuck teaching when he’d rather be writing a novel as he says he is.
Still, things get intense fairly quick once the horror rears its fierce head. What I love is that the movie is only an hour and a half, not even, so the plot kicks in and runs wild without enough preamble to numb you. For a horror-comedy, this is an efficient technique and certainly made me enjoy Cooties even more than I might normally enjoy other movies in the sub-genre.
Screen Shot 2015-09-18 at 10.26.17 PM Screen Shot 2015-09-18 at 10.26.35 PMKiller kid movies always freak me out. Something about the innocence of children combined with evil – and in this case an illness/virus – really just gets to me, in an awfully heavy way.
The kids in Cooties are creepy. Plain and simple. One of the first intense scenes is when Wade Johnson (Rainn Wilson) finds himself trapped on the basketball court, surrounded by a bunch of the kids; they’re hissing, snarling, growls and blood and pus come out of them.
Something I enjoy about the killer kid sub-genre is how it subverts how we feel about children. You don’t feel any fear from them. When you see a kid, as an adult, there’s nothing threatening about them. Even when it comes to really messed up kids who might talk a good tough game, worst comes to worst you can pick a kid up and throw them if necessary. However, when the evil aspect comes into play – in film – there’s something in that subversion, something about how the children suddenly become threatening, which unsettles me at the core. It’s the innocence coming back into play, in a very sinister sense.
Even more so, Cooties pits school teachers against the kids they’re meant to be teaching, caring for, moulding into responsible young adults. There’s something even more wrenching about seeing these educators forced to kill the ones they’ve protected so long, similar to zombie films where we see parents have to kill their children or children forced to kill their parents. Something about this whole idea eats away at me. And even though there’s plenty of comedy peppered in throughout, I think there’s an absolutely relentless sense of dread happening from start to finish which never ever lets go.
Screen Shot 2015-09-18 at 10.26.47 PMWhat I enjoy so much about this movie is the fact it balances so well the aspects of horror and comedy. This is the strength of any solid horror-comedy, if they can find a balance somehow that ultimately works equally on both fronts. What I found worked, for me, is that Cooties teeters back and forth between riotous moments and nasty horror. I mean, there’s a genuine dose of R-rated horror here a lot of other filmmakers would be too afraid to include in their own films.
When Johnson (Wilson) kills the first kid with a fire extinguisher, I knew it was coming but there’s still an effective scare in that moment. Particularly I love the makeup special effects, the blood spray all over Johnson and the wall behind him, speckled red dots everywhere. A true horror scene. Often times there’s a comedic aspect to kills in horror-comedy; this is not one of those kills. In the midst of the comedy comes a brutal, vicious scene. Not only that, the weight is evident on the character of Wade Johnson, as he sorts of loses his fun loving attitude afterwards and takes a bit of time alone.
Screen Shot 2015-09-18 at 10.27.03 PM Screen Shot 2015-09-18 at 10.28.00 PMThe cinematography all around is pretty awesome. There’s a genuine atmosphere from start to finish, which sort of evolves from section to section. Lyle Vincent is the one responsible for the camerawork here – he also did 2012’s Devoured, a decent little indie horror with some teeth, and also the downright fantastic A Girl Walks Home Alone at Night (you can see a marquee poster for this movie at around the 1 hour 17 minute mark, or a little after, as the survivors pass a theatre). So knowing those two pieces – liking the latter more than the former – it’s no surprise Vincent is able to give Cooties an interesting look and feel. At the start, even in the creepy/nauseating opening sequence, there’s this real bright, shiny type of aesthetic happening – this leads through a bit to when the darkness comes into play. Following the “turn” of the children, a more gritty yet still colourful scheme begins. The vividness of colour persists, only darker now, along with the shadowy halls of the school, lit here and there with neon Exit signs, and the dull, sickly makeup of the kids, bloody and diseased looking. Tons of great visual stuff happening in terms of how the cinematography is both bright and gritty.
Also, there’s a rocking score from Kreng (Pepijn Caudron) – lots of cool electronic stuff happening. Unlike many modern horror movies trying to evoke a retro 1980s style soundtrack, I found this goes for the electronic sound while not necessarily trying to riff off the ’80s particularly. It might have that type of vibe, but for me it’s not the typical modern horror score. Helps the different aspects of Cooties become more intense, along with Vincent’s cinematography, whether it be the action-horror scenes near the end or the plain creepy horror moments throughout. A great horror score, definitely a bit different than some of the other stuff as of late from the indie horror scene.
Screen Shot 2015-09-18 at 10.28.24 PMI have to mention one of my favourite scenes. It’s very close to the end, so without spoiling anything, the group of teachers trying to fend off all the infected/zombie children wander into a sort of McDonalds PlayPlace type of building. They find the PlayPlace itself, a massive jungle gym full of infected kids, frothing at the mouth, hissing and screaming, laughing like maniacs. The part I love is the lead-up, where first the group comes inside and the dark closes everything in, the flashlights give us enough to see bright party decorations, half eaten cake and nuggets; there’s this eerie quality to the scene I found incredible. Then when the lights go up, a neon multicoloured disco light ball turns, there’s this WHOA second where you can’t get over how wildly creepy the scene has become.
Screen Shot 2015-09-18 at 10.28.47 PMWith a decent ending, that doesn’t try to wrap things up cleanly and to a precise point, I think Cooties overall gets a 4 out of 5 star rating. I loved the excellent mix of horror (good dose of blood/gore) and comedy. Plenty of good laughs, but horror wins out above anything else. There’s a lot of great intense kid-centric horror. This doesn’t shy away from showing any kids infected, bleeding, or straight up being killed. Though it isn’t malicious in the sense of useless violence. Mostly, as I said before, the subversion of the roles of the teachers in this film really makes things interesting, and horrific at various times for both the audience and the characters.
This is out now via iTunes, so get a copy! Maybe not everyone will love it like I did, but as someone not often drawn into horror-comedies, I’d at least suggest you give it a try.

Drop Something on a Walk Down Toad Road

Toad Road. 2012.  Directed & Written by Jason Banker.  Starring James Davidson and Sara Anne Jones.  WTFilms.  Unrated.  76 minutes.  Horror/Thriller.

3.5 out of 5 stars

I didn’t know until recently, but Elijah Wood and his company SpectreVision were the ones to present Toad Road.  They’ve been starting to bring some interesting films to the world including this one, the recent Open WindowsCooties [which I can’t wait for], and my personally most highly anticipated horror of 2014, A Girl Walks Home Alone At Night [which people have been raving about a lot lately – dying to get a chance to see this].
Toad-Road-FRONT-COVERToad Road has been described as being a cross between Kids and The Blair Witch Project.  I’d definitely agree there is an aspect of Harmony Korine in there, not only in the characters but also in the way Banker shot everything.  Aside from that alone, I don’t think I’d really try and draw any parallels between Toad Road and The Blair Witch Project; to my mind, there isn’t anything really paranormal, supernatural, or whatever, going on here.  One of the best descriptions [albeit coming from a negative review] is a contemporary annotated version of Dante Alighieri’s Inferno.  To this, I can draw comparisons absolutely.

The story isn’t anything really challenging, or complex – James [Davidson] is a guy who hangs around with a group of people that get their kicks out of drugs, everything, anything they can get their hands on, but mostly psychedelics.  He then meets a girl named Sara [Jones], who has the false belief she can find herself, find something, in drugs.  While James tries to talk her away from all of this, Sara is unmovable.  She wants to experience more through drugs.  Soon, James drops the name of Toad Road into conversation, telling her drugs are a path similar to that place; an urban legend about a path in the woods behind a mental institution, which goes through the Seven Gates to Hell.  Sara becomes obsessed, believing Toad Road to be a beautiful legend instead of creepy.  Eventually, James and Sara go down Toad Road, as she believes going through the Seven Gates will be some sort of revelation; not the Christian Hell, but something real, and possibly miraculous.  Reluctantly, James goes along with Sara.  Nobody has ever made it past the fifth gate, where time starts to warp, and change.  No one has ever gotten to the sixth or seventh gates, apparently.  She wants to take drugs, and experience Toad Road like some sort of literal path to enlightenment.  Sara says “something attached itself” to her after her experience on mushrooms earlier.
As they wander further through the gates, it’s evident there may be a lot more to the legend of Toad Road than James had ever thought.
Toad Road 5The whole film has a very documentary style feel.  I’m not positive if the people in the movie were taking actual drugs or not.  Regardless, they did a good job of showing what it’s like to be on drugs.
For people who’ve never experienced drugs or the people who have while managing to never really slip into the whole lifestyle, the characters in Toad Road may seem unrealistic, maybe even foolish.  Yes, they’re definitely a bunch of druggies, fairly ridiculous crowd, but for those like myself [luckily I turned my life around – that’s a whole other tale unto itself] who’ve been into that lifestyle, these characters are all too painfully real.

For an indie film, this has a decent little story.  It’s simple yet effective.  The message isn’t particularly anti-drugs or anything, but the plot really does help work against any decision people might make soon about dropping acid and heading out into the woods.
As James and Sara head down Toad Road, The Seven Gates of Hell mirror the plot.  Soon, Sara is missing, and time stretches out much longer than James conceived it to be.  He makes it out of the woods, she is nowhere in sight.  Suddenly, the police, friends, family are looking for her.  They all think James knows something more than he is letting on.  Essentially, The Seven Gates of Hell come to represent the whole lifestyle James and Sara were falling into, and while they went further and further down the road, The Gates took on real meaning in their lives.  They made it all the way down Toad Road.  And they also paid the price.
toad road 3The acting is fairly good, as I mentioned before.  If they were taking drugs for real, it’s certainly a testament to the fact they could still be coherent at times to do any dialogue.  If not, the acting is even better because they really put forth the feeling of being under the influence of hallucinogenic drugs, and the like.  Davidson and Jones carry things nicely, even more so when the plot focuses in solely on them as they begin their journey down Toad Road.

One of my favourite bits concerning the acting was Jones’ voiceover as Sara.  It played over various portions of the film.  Most effectively, Banker used the voiceover narration to really drive home the points where James is really going insane, straight off the deep end, near the film’s finale.  She narrates his spiral downward, as he essentially is recalling her tell him about what happens as you pass through each gate on the way to Hell.  Some really chilling moments, which I enjoyed a lot.  Very quiet, subdued moments coupled with great cinematography, a few beautiful locations.  This really worked.  Jones’ voice is beautiful and kind of guides us down Toad Road in a way.  Spooky stuff.
I think the real problem with Toad Road overall as a film is that even though there are things happening, a lot of time gets chewed up almost feeling like a documentary about a bunch of drug addicts.  Though there are some good moments, and certainly scenes which add to characters of both James and Sara, the pacing starts to really drag in several spots.
toad-road-3I also think the finale of the film is a bit hindered by the fact there’s no real huge climax.  It almost feels as if there should’ve been more additional scenes involving the aftershock of Sara’s disappearance – it seems like the police went really soft on James.  Although we see a few scenes where James is being interrogated, I feel like those were the scenes which ultimately lacked sincerity.  We get a lot of reality, documentary style moments in the early half of Toad Road, but once it starts to shift into a more mystery/thriller genre for the last half [which could have worked wonderfully] it lacks the composition of a real drama.

The switch from the reality-based portion of the beginning to a forced dramatic and thrilling angle didn’t work.  I didn’t particularly think the cop interrogating James was really great either.  Not terrible, just not great.  It didn’t feel as if those bits matched up to the rest of the film.  Even the closing moments of the finale, those worked very well with the atmosphere and tone built up by the first half of the film.  I just think they would’ve benefited by either giving the cops more screentime and making it feel as reality driven as the earlier scenes, or just cut out those parts; they could’ve just as easily focused mainly on James trying to evade police, talking to his friends [bits of which they did include], and then went with the finale they’d chosen.  Instead, the parts with the cops really throw off the balance, and make the last quarter of the film a bit sloppy.
Toad Road 1Though there are some flaws here, I think Toad Road is a pretty decent horror outing.  Certainly for an independent horror film.  There’s a lot of visual flair here, and you can tell Banker has an eye for beauty in horror.  That being said, I did have a problem with some pacing issues here, and if they could be ironed out I think this would be an even better film.  I still loved it.  Once the credits start rolling [with an appropriate dedication to one of the film’s stars, Sara Anne Jones, who died of a drug overdose just as Toad Road started screening in different places], there’s a haunting little song to go along.  It really all works.  Toad Road stuck with me for days and days after I first saw it.  You can get it on DVD now I believe, as well as through Amazon and other VOD options.  I had to come back to it after seeing it a long while ago when I got the chance, and while there were small bits I felt held it back, overall Toad Road is good, and definitely a lot better than the hordes of low budget horror out there tackling the same zombies and vampires and masked killers as the hundreds which came before them.  This film at least aims the bar higher.  I hope to see more from Jason Banker, and look forward to his upcoming Felt, which recently found distribution.

Get yourself a copy of Toad Road.  Even if you’re divided after watching, it’s hard not to admit the film has a certain charm to it, and a creepy, haunting quality.

Maniac is an Innovative & Horrific Remake

Maniac. 2012. Dir. Franck Khalfoun. Screenplay by Alexandre Aja & Grégory Levasseur; based on the original screenplay for the 1980 film by Joe Spinell.
Starring Elijah Wood, Nora Arnezeder, and America Olivo. Canal+.
Rated 18A. 89 minutes.
Horror

★★★★★ (Film)
★★★★ (Blu ray release)

First off, I really enjoyed the William Lustig directed original Maniac with Joe Spinell from 1980 (click for a review of that one from Rare Horror). There is a certain gritty, low-class charm to that movie which just really works. Spinell, of course, really terrified me, and most everyone who watched him become that insane killer onscreen.
But along comes Alexandre Aja, producing as well as doing some writing with Gregory Levasseur, and recreates Maniac, with help from director Franck Khalfoun. This vision of the film is even more crazy, more intense than the original, in my opinion. They took an idea, fleshed it out, changed it up a little, and came out the other side with something even more bizarre and frightening.

maniac_2012-en-1-750x1116_big-previewNot only do I find it more disturbing and more frightening than the original, it also uses unique techniques to really get the audience inside the killer’s head. The entire film, save for a rare few shots here or there at opportune and specific points (each with their own reason), is shot from the perspective of the killer, Frank (Wood). This means we see his whole life right from the windows of his soul. It is creepy. Also highly engaging: everything Frank sees, we see. We experience his experiences. The blood gets on his hands, and it feels like we’re there. Great way to immerse people in a character. Not forgetting how difficult it can be at times, depending on the story and situation, to film a movie as if right in the killer’s direct point-of-view.

The whole plot of Maniac revolves around Frank and his delusions. He restores mannequins in a shop his mother used to own. It becomes more clear as time goes by, the influence of his mother looms larger over his life, and has obviously damaged Frank in some way; it’s clear to us which way, very clear, immediately. Frank later meets Anna, and this shows some promise of maybe taking Frank out of his delusions. Although soon enough we see this will not be the case, whatsoever. Frank likes to scalp women. He likes to take the scalps home and staple them to his mannequins. He wants to build a life; one full of lifeless, obedient, perfect mannequins of his choosing. Frank is certainly a maniac.

Aja, whether he is directing or producing, always manages to dowse his films with incredible effects. Maniac, beyond its fresh use of point-of-view filmmaking, is ripe with blood and guts and disgusting things. Not only the blood, but there are some other images, horrifying sexual ones at times, that really stick with you long after the credits roll. A lot of the effects in Maniac are beyond visceral.
photo-Maniac-2012-17In fact, one of the best effects happens nearly right off the bat. The first scene depicts Frank stalking his newly discovered prey. He follows a young woman from a bar, all the way right up to her apartment door. Frank then ambushes her viciously, and takes his prize: a fresh and sloppy scalp. As he holds the girl by the back of her head, gripping her hair and slicing away, the scalp slips off, as its poor owner falls in a pile of dead weight on the floor. Sets the tone for Maniac and lets you know it will not be skimping on any of the horror, any of the gore for this remake. This kick starts the film’s pistons, which never stop pumping.

Another noteworthy mention about Maniac is the score. This film’s music blows me away. I can listen to it on its own, which I don’t often do with a film score or soundtrack either way. But the music is haunting. It’s a mix of piano and electronic music. The sounds get under your skin. There’s something about them that draws you in, taking you to Frank’s world. The score is beautiful and creepy, all at once. There’s something elegant and terrifying in the main theme especially. Sets the overall mood and jives well with Khalfoun’s atmosphere.

On top of the effects present, the film is really carried by Eljah Wood and his eerie performance as Frank. Khalfoun mentions in the Blu ray’s Making Of featurette how there is something more disturbing about a killer who does not look the part; for instance, comparing Spinell’s brutish character to Wood’s more slim look. One of the things which really works for Wood is the fact he doesn’t particularly appear imposing. You take one look at Wood and you don’t really feel the same fear as you might when meeting Joe Spinell in a dark alley, whether in a film or not.
Wood draws out Frank’s character with a lot of subtle acting. There are times when he goes wild, of course, however, it’s mostly the small, quiet moments where Wood really gets into things, and the character goes to fascinatingly creepy places. Without a really strong central performance a lot of horror films fall flat on their faces. With Wood and what I believe are his wonderful talents, Maniac really soars above most modern horrors where filmmakers often go for effects, whether CGI or practical, over character and plot.
Maniac2012_3As a horror film, Maniac is a 5 star experience. A lot of people expect a remake to expand on the original concept, as well as maybe step it up a little – if you feel that way and don’t believe Maniac delivers, then I have no idea what you’re really looking for in a remake. On its own this stands as a great modern horror, which to me will be a classic one day down the road. Even as a remake, this still holds its weight. The 1980 Maniac is loved dearly by a lot of hardcore slasher and horror fans. But I don’t see why people can’t get with this one. It is a fresh update; creepy, frightening, and gory at times. With, as I said, a spectacular lead performance in Elijah Wood. 5 out of 5 all the way.

Concerning the Blu ray release, it’s a 4 out of 5 stars. There is a great Making Of featurette, as well as a poster gallery, and some good commentary with Khalfoun and Wood. But there isn’t anything that really bumps this Blu ray above anything else in terms of being packed with extras. The quality is phenomenal. There’s nothing like watching a horror with style on a good screen in real high definition. You get to really dig into the effects. Not to mention the sound is quality – top notch.
Check this out. The Blu ray is beyond worth it, but don’t really expect there to be anything too amazing. The one featurette included is an hour long, so that’s not disappointing. You’ll get your money’s worth that’s for sure. Just not particularly my favourite release in terms of extra features that I have on my shelf, personally. As a movie, you can’t go wrong. This is a solid horror with many creepy, creepy scenes. This still lingers with me, even when I haven’t watched it in months.

Another Rare Horror review can be found here – this time for the remake.