One of the most shockingly visceral horror films of all time.
Some Kind of Hate. 2015. Directed by Adam Egypt Mortimer. Screenplay by Brian DeLeeuw & Mortimer.
Starring Grace Phipps, Spencer Breslin, Andrew Bryniarski, Sierra McCormick, Lexi Atkins, Brando Eaton, Ronen Rubinstein, Maestro Harrell, Noah Segan, Michael Polish, Justin Prentice, & Jasper Polish. Caliber Media Company/Revek Entertainment.
Not Rated. 82 minutes.
Low budget indies can go many ways, from weird and wild, to impressive, to downright pieces of trash. I’ve seen a bunch of reviews saying Some Kind of Hate falls into the last of those categories, not many giving it any praise. And while there are some places where the movie could use a huge tweak, namely some of the acting and parts of the screenplay, this is a decent indie horror. It is at times gory, serving up more than a fair share of blood, and others it comes off as a tense, brutal horror with teeth.
Part of the movie, a large part, plays on the collective knowledge, and for some experience, of bullying. It’s not hard to fall into enjoying this if you’ve been a victim yourself, or even if you’re someone who bullied others in high school then changed years later for the better. The story of Lincoln, our main protagonist, is a tough one at times. Just watching him be pushed to the brink, even those first few minutes of the film is harrowing. But on top of everything else there’s a supernatural aspect to Some Kind of Hate. While director Adam Egypt Mortimer and his writing partner (on this picture) Brian DeLeeuw could take a typical revenge-type route with this story, they instead opt to turn it into an entirely different picture. The savagery ultimately makes things intense, but Ronen Rubinstein does a fantastic job in the central role, and the plot keeps everything pretty damn interesting.
Lincoln Taggert (Ronen Rubinstein) has been bullied for years, by the people at school who call him a faggot, push him around, and even at home where his father (Andrew Bryniarski) drinks and yells at him for no reason. One day, Lincoln finally steps up and protects himself. Except for the fact he stabs his bully in the face with a fork.
This brings Lincoln to a camp for… wayward teens, such as himself. There he meets a few people, such as Isaac (Spencer Breslin), some of whom seem overly interested in his past. Problem is that the abuse Lincoln suffered only starts all over again when a teen at the camp named Willie (Maestro Harrell) bullies him. It’s as if nothing will ever change for Lincoln. This time, though, there’s someone watching, someone who cares and understands exactly what he’s going through. A girl named Moira (Sierra McCormick) was driven to kill herself there years ago. And after Lincoln summons her still angry spirit to help avenge him, she unleashes hell upon the camp and anyone who falls into her path.
Even though the budget of the film is small, I love the look. Not simply the choices in direction and cinematography in general, but also how they use anamorphic lenses which gives it a throwback feel. Most of all this aesthetic makes everything seem natural – the daytime sunny scenes feel very light, very beautiful, whereas the darker moments look even more grim. The camera work at times is a little unsteady, yet it works. Because during most scenes there’s a steady and framed flow. Then once Lincoln gets agitated and thrown into a situation where he either must fight or run, the handheld camera comes into play, throwing us off balance and unnerving our senses. This isn’t a film that relies totally on a shaky cam aesthetic, it employs the technique where appropriate. When used correctly, it’s a solid way to express the raging emotions of teenagers, specifically Lincoln in his world of near constant abuse and ridicule.
Added to the look, Some Kind of Hate has a great soundtrack filled with hard metal. More than that, I love the sound design and the score. There’s this ambient, haunting sound floating through certain scenes, which again amplifies into a heavier distorted noise when the stress on Lincoln gets heavier. These are excellent moves that, along with acting, help emphasize how Lincoln loses control. Composer Robert Allaire (I know him from his additional music credits on American Horror Story) does an impressive bit of work, and his score combines with the sound design to create a general air of uneasiness at so many different points. With such good sound design, score, and cinematography, Some Kind of Hate does better things than so many other indie flicks of its type.
Ronen Rubinstein and Sierra McCormick are both excellent here. Can’t say the others are all as good, but these two make up for any shortcomings the film has in the end. Rubinstein is dark and brooding, he truly captures the emotion of a person who’s been beaten down hard by the people around him, even his own family. As the time goes on, he comes out of his shell slightly, goaded by a girl who seems to understand him. There’s a totally different quality to the Lincoln character, which is great because revenge-styled films are usually starkly contrasted; here, Lincoln becomes different, but not completely. He sort of glides in his transition, eventually becoming someone a little different than he was in the beginning. Rubinstein can be loud and boisterous when needed, in those angst-y scenes, then there’s the quiet, subdued nature of Lincoln he brings out in other moments. With McCormick playing the Moira character, their chemistry is unbelievable. And the contrast between Lincoln and Moira is huge, as it turns out. At least once the plot progresses and we come further towards the end. McCormick is filled with anger, she expresses it perfectly without always having to resort to a yell or a scream, though, she certainly does give us those now and then. But it’s her emotive abilities, the way she conveys things with her eyes that give her performance more intensity. She’s able to be both coy and smug, as well as vengeful and nasty. A proper combination of talented actors in McCormick and Rubinstein. I guess Grace Phipps isn’t bad, either. Nothing compared to those two.
Without hesitation, Some Kind of Hate gets 3&1/2 stars. There are plenty of other similarly styled horrors out there, lower budget indie flicks, which try hard and never hit the mark. Meanwhile, this film has a nice little plot, a couple solid lead actors, and then lots of nasty blood and gore. Even with the gory bits, I’ve seen much more vicious films in that regard. But this one brings it to an acceptable level, one we’d expect with a spirit coming back after her terrible suicide to take vengeance for another fellow victim of bullying. Every element here does well to create an atmospheric horror. There are times I wish the script were tighter, and others I hoped for better acting (nice to see Noah Segan in there even if in a small role; he is a treat, always!). Overall, I’ve seen much worse. It’s refreshing to see revenge switched up now and then from the cliche plotlines we expect. The supernatural stuff adds a twist that I found plenty enjoyable as a lover of horror. Check it out and give it a chance. Don’t listen to all the negatives, judge for yourself.
Turbo Kid. 2015. Directed/Written by François Simard, Anouk Whissell, & Yoann-Karl Whissell.
Starring Munro Chambers, Laurence Leboeuf, Michael Ironside, Edwin Wright, Aaron Jeffery, and Romano Orzari. Epic Pictures Group/Timpson Films.
Rated R. 93 minutes.
Always interesting to see the different 1980s (& further) throwbacks coming out now over the past 8 years or so since Grindhouse brought the whole concept back. Ever since Nicolas Winding Refn’s Drive especially, there’s been a want for the retro 80s style soundtracks, or the entire aesthetic. Even before that with stuff like Ti West’s The House of the Devil, film fans have gotten a taste for the homage films being made by directors and writers who grew up watching movies in the 1980s and that’s where they cut their teeth in terms of influence. What’s even cooler is a lot of these retro homages are coming from indie filmmakers, bonafide genre filmmakers, and so it’s exceptionally cool that these are being made outside of the Hollywood system mostly. Furthermore, even with the heavy dose of homage in films like these, the concepts and premises are often innovative and fresh compared to so much of the recycled, rehashed, rebooted, remade material we’re being fed in theatres nowadays.
While some of these movies opting to go for a throwback retro aesthetic don’t actually do a period piece, or particularly set things in the 1970s or 1980s, Turbo Kid is straight out of both the ’80s and ’90s. At the same time, it’s futuristic. Set in 1997, it’s as if things stopped in the 1980s and everyone’s stuck.
Probably what excites me most about Turbo Kid is the fact this is a film spun off from the short segment “T is for Turbo” that was meant to be in The ABCs of Death. Though the segment did not make it into the film, I’m super happy it ended up being made into a film. Now out on iTunes and other VOD platforms, this is a new indie film that deserves much attention. Not simply because of its origins from the horror anthology in which it was hoped to be included, Turbo Kid is also an example of how neat, interesting movies can get made with the support of film fans. Paying a few dollars to see an awesomely original, independent film ought to be a privilege, and this is one of the latest new films that will hopefully remind people how indie filmmakers are still thinking outside of the box, not following all the latest trends to the letter and still thinking for themselves. Because like I said, while this is pure retro homage filmmaking, there’s a highly original quality to Turbo Kid which evokes equal parts hope and nostalgia.
Turbo Kid takes place in the year 1997, in a post-apocalyptic vision of the world. The Kid (Munro Chambers) wanders around in the wasteland, fending for himself, reading salvaged comic books of Turbo Rider. Along the way he meets the chipper, upbeat Apple (Laurence Leboeuf). She attaches herself to him immediately and tags along for the ride. The Kid is reluctant at first, however, he warms to her quickly.
Meanwhile in other parts, an arm wrestler named Frederic (Aaron Jeffery) is also fending for himself across the barren lands plagued by drought and acid rains. He’s trying to find his brother, fighting against a one-eyed man named Zeus (Michael Ironside), Skeletron (Edwin Wright) and a band of other insane henchman. Zeus kills people, feeding them to a contraption built for extracting water from human remains.
After The Kid saves Frederic and Apple from Zeus, captured in his savage fighting arena, the fight and the chase are on. Across the wasteland Apple and The Kid venture, Zeus on the warpath, and there’s no telling what might happen in the unstable post-apocalyptic world amongst the dirt, the blood, and the acid rains.
Naturally one of the greatest parts about Turbo Kid is the incredibly authentic retro ’80s score. With original music from Jean-Philippe Bernier, Jean-Nicolas Leupi, and Le Matos, there’s an incredible part of the aesthetic in this film that’s built up through the music. Particularly during some of the small intense sequences, like when The Kid (Chambers) is pedalling fast as he can away from a villain on his bike, there’s this amazing synth chase piece that blew me away. I expected lots of this, however, to hear it composed so well and fit so perfectly with the scenes and sequences is a damn treat!
The score’s individual pieces are so fitting when it comes to the ’80s homage because we get a bunch of great little montages, typical of that era of filmmaking. So not only is the score awesome, it plays into the film in so many ways I think work directly towards cultivating that super cool throwback feeling. You’d swear this was done back in the ’80s, all around.
My favourite part of the score is during a massive fight involving Frederic and The Kid versus Skeletron and the rest of Zeus’ henchman crew. It’s just PUMPING the whole time and it makes you want to kick some ass. Coupled with the incredible practical effects, all the blood and gore we’re treated to, the music makes this section full of adrenaline and a hell of a lot of fun to watch.
The apocalyptic angle of the film comes off really well. Particularly I love their use of locations and the sets; not sure how much of this is on location and how much, if any, was done on a set/soundstage. Either way, the post-apocalyptic feeling comes across excellently simply through virtue of how they use their locations. We get the post-apocalyptic settings and sense from everything together, as well as the very palpable sense on top of all that of when the apocalypse happened through the ’80s costuming.
Not only is there a science fiction-ish aspect to Turbo Kid with the apocalypse’s destruction of civilization, this movie has BUCKETS OF BLOOD and PLENTY OF GORE. I thought there’d definitely be a fair share, but man was I pleasantly surprised! Not only that, the practical special makeup effects were out of this world. Just absolutely something to behold. The gory moments get even better once The Kid discovers the Turbo Rider’s gear in a crashed plane; he picks up the glove and begins to blast away at the villains threatening him and his friend Apple.
Inarguably, one of the best gory scenes is when a friend of The Kid, Bagu (Romano Orzari), is captured by Skeletron and Zeus. They tie a hook into his guts, which are ripped slightly out of his abdomen, attached to a bicycle then Skeletron proceeds to pedal hard and haul a big string of intestine out. It’s an awesome practical effect that’s pretty savage and awesomely gnarly. Hard to say the ULTIMATE BEST, because there are just so many unreal gory, bloodletting moments.
We get a bunch of real awesome bloody shots when The Kid blasts people with the Turbo Rider glove. It’s so video game-like that I can’t help love it. Even the glove itself sort of reminds me of the Nintendo Power Glove, as well as how Apple’s little heart monitor is pretty much (wonderfully) torn out of The Legend of Zelda. But the head shots and the torso blow-ups from the glove look perfectly like something you’d see in a video game, it adds tons of flavour to the retro ’80s feeling. Brings me right back to childhood.
Almost all the performances in this movie are spot on. Incredible talent, especially in the younger actors.
Munro Chambers plays The Kid and I found him both charming and funny. He’s got a likeable quality to him instantly, but seeing him rock out to a Walkman and painting his helmet, just hopping about the post-apocalyptic wasteland, it’s a lot of fun. The charm he brings to the role of The Kid helps because there are moments in the script which are purposely cheesy, and he sells these scenes and little brief bits. The performance he gives is awesome. The best thing, though? He actually seems to be having a ton of fun, while still playing his character.
I’ve loved Laurence Leboeuf ever since her turn on the wickedly dark Canadian show, alongside Hugh Dillon playing her father, Durham County. Here she is quite different than that character, which is fun to see. She has a lot of range. Here, Leboeuf plays a beyond quirky, hyper young lady named Apple who turns out to be a synthetic human being, or a robot; whatever you prefer. I cannot count how many times she made me laugh out loud, over and over. There’s energy in her performance unparalleled in this film, maybe unparalleled in most of the roles out of 2015. Honestly, she’s a joy to watch here, as a character who is slightly familiar but plenty innovative. Well cast in this role, there’s no doubt about it, and Lebouef – like Chambers – seems to revel in a chance to do something different, fun, and a bit wild.
Along the edges there’s Aaron Jeffery, whose character Frederic is the typical badass yet with his own square jawed charm and intensity, on top of a rough machismo so familiar from the films of the 1980s. Plus, legendary actor Michael Ironside shows up here as the villainous Zeus, controlling the water sources amongst the desert-like lands of the post-apocalyptic landscape; as usual, Ironside gives a solid performance with the right material and this is one sci-fi/horror I hope he’ll be known for in these later portions of his career. Even the eternally silent Edwin Wright as Skeletron does a fantastic job with a fun, video game/cartoon-ish character who is also a solidly creepy villain alongside Ironside’s Zeus.
This is a 5 star film. I know some may roll their eyes, but whatever. Fuck those eye rollers. This is an incredibly retro 1980s throwback, which is not simply full of homage and an attempt at capturing a nostalgic feel but a very fun, innovative movie in its own right. Part of what works in its favour is absolutely nostalgia. However, this is not all that works for it. The performances are worth a good deal of enjoyment, the blood and gore are ABSOLUTELY PERFECT with the practical effects to make everything worthwhile, and the original music for the score is something I can’t truly describe that’s how much I love it to the core.
So PAY for this because it is one amazing example of how the dreams of filmmakers can come alive when a bunch of people work towards a collective and unique vision; there’s so much effort behind every bit of this film, I was impressed. Watch it and support indie film. Maybe you won’t love it as much as I did, but I guarantee you’ll walk away with at least some degree of respect for how well all its retro elements work together to make an outstanding homage to a simpler time in filmmaking, as well as it makes for a super enjoyable to spend 90 odd minutes. Kudos to the filmmakers for giving it their best effort and pulling out ALL the stops.
Check it out – available on iTunes (not sure if it’s out on VOD anywhere else yet) – and tell me what YOU think! I dig it so hard that it’s not even sensible. You may or may not. Either way, I’d love to hear your opinion, too.
Pod. 2015. Directed & Written by Mickey Keating.
Starring Larry Fessenden, Lauren Ashley Carter, Brian Morvant, Dean Cates, John Weselcouch, and Forrest McClain. High Window Films.
Rated R. 76 minutes.
If any of you may have read my reviews before, you might know that I’m a big fan of films which are of a specific genre and still they have the ability to cross over genres. The classic example is Alfred Hitchock’s adaptation of Psycho by Robert Bloch – the way we think the story is all about Marion Crane, but then Norman Bates shows up and the story takes on a different air. Same goes for Proxy, a viscerally intense horror thriller from Zack Parker, which I believe took much inspiration from Hitchcock and his classic horror film and seems to move between genres in a similar fashion.
So, for all its faults, I do like the way Pod starts out with an opening scene that’s very horror-ish, or at least highly suspenseful, then moves for a while into an extremely serious, often dour family drama before coming back to its horror elements.
Pod tells the story of Ed (Dean Cates) and his sister Lyla (Laurence Ashley Carter) who are heading up to a cabin in the winter in order to retrieve their out of control brother Martin (Brian Morvant). He needs an intervention of some sort. When they arrive, though, things are far worse than they’d ever anticipated. Ed is already worried, having received a frantic and terrifying call from Martin.
Once there, Martin tells his siblings he has something trapped in the basement, that there is a “pod”. He reveals scratches all over his body, infected and sore.
But after the worst happens, Ed and Lyla must confront what really is down in the basement. It most certainly is not of this world. Suddenly everything their crazy brother Martin had told them seems to be horrifying true.
I’ve been a huge fan of Larry Fessenden now for a good 14 years probably. I remember I saw his film Wendigo, an eerily low budget psychological horror, on some television channel late at night. Totally floored by it, I sought out anything he’d done before then kept my eyes on him afterwards.
What’s great about Larry is that he’s a fun horror director, while also popping up in the films of others as an actor. I think he likes to take on roles with young filmmakers he finds interesting, or just any filmmakers in general, young or old, he thinks has some talent. So to see him in this film is pretty great. He was in Mickey Keating’s previous directorial effort Ritual, which I’m planning to see soon, so I gather Fessenden must enjoy Keating and his filmmaking to have signed on for another of his films. He isn’t in this one much at all, though, to see him show up a little is enough for me most times.
Then there’s also the talented Lauren Ashley Carter who I’d first seen in The Woman and enjoyed. Then I caught her on an episode of Law & Order: Special Victims Unit in a decent role. However, it wasn’t until the film Jug Face, which I own and love, that I saw what Carter is really made of. She has great range, as is evidenced by watching her across a couple films.
Here she plays a young woman whose family clearly has issues. She’s an alcoholic, her brother Martin (Brian Morvant) is most obviously a man with drug problems and all sorts of other compounded issues. It’s intriguing to watch her here, as opposed to Jug Face in particular, because this character is even more complex.
I really found the chemistry between Lyla (Lauren Ashley Carter) and her brother Ed (Dean Cates) worked very well. The beginning of the film for the first 10-15 minutes is a lot of them, alone together as they travel to give Martin a sort of impromptu intervention. It’s definitely a rocky relationship, though, we’re able to glean a sense of their family, their past, and it doesn’t require a huge amount of expository dialogue. There’s definitely some of it, but we get tons simply from how Ed and Lyla interact with one another. Once Martin actually comes into the picture, there’s plenty more family tension and further dynamics at work.
We get bunches of history about the family, especially Martin. Turns out he did something pretty terrible to a woman named Edith – flashes of a couple Polaroids with a VICIOUS BLOODY injury to her face come up really quick – he thought she was feeding him arsenic, that she was a spy of some sort. So it’s obvious why Ed, and to a lesser extent Lyla, is reluctant to initially believe anything Martin is saying. No matter what horror may come later, at the time it’s certainly relatable and understandable; Martin’s got psychological issues, plus the fact he was in the military and who knows what he truly saw, but it’s affected him in some highly real ways due to delusional thought.
A while later, Ed reveals to Lyla that the woman named Edith was a nurse. Martin tried to essentially rip her face off and escape from the hospital. So again, we see more of why the siblings – mostly Ed as Lyla seems to believe Martin slightly – have a tough time trying to trust anything Martin might say.
This all sets up the drama of the family, but what that serves to do is make all the thriller and horror aspects of the script come out even more intensely, as we’re sort of riding alongside Ed and Lyla listening to the insanity of Martin before – BAM! – everything kicks in.
Loved the style of how the film was shot. Not only that, the sound design and the score helps the suspense and tension of so many scenes. One awesome bit is just before the 30 minute mark, as Martin retells the story of waking up in a government lab; he’s a soldier who’s clearly seen some SHIT. But what I love is the score, the sound design with its crackling fuzzy noises slamming loud with the music at the right intervals, and all the while we’re closing in on the door of the cabin Martin has locked. There are scratches around the door, near the locks, it’s clear something is in there whether brother Ed wants to believe it or not. Definitely creepy style.
This sets up a really great atmosphere, another aspect of what I love about good horrors and thrillers; any films really. If a nice atmosphere and tone can keep up throughout a movie, then there’s a good chance no matter what I’ll walk away with something positive to think and feel about it, even if not every aspect is great. What Pod absolutely has going for it is a tense atmosphere throughout, a dark and sketchy tone.
One amazing, brief shot is after Ed pulls Lyla off to talk in private. There’s an excellent slow motion style shot, as Lyla stares wide-eyed at Martin while heading upstairs; she sees her brother grabbing his head, like a million voices are pounding his brain, and he looks so tortured you can almost feel his pain.
There’s a genuinely shocking moment near the 50 minute mark. I knew Martin was pretty crazy, despite the obvious weird happenings at the cabin, however I couldn’t see what he did coming. Not by a long shot. I don’t want to spoil anything too much, so I won’t say exactly what it was, but be prepared! It’s not vicious, definitely gory though. Mostly it’s just a good, solid shock that puts the final half hour into a really thrilling frame.
Once Ed and Lyla open up the padlocked door in the cabin, I thought the room itself was superbly creepy. It’s cast in this reddish light, there are drawings and doodles everywhere, writing on pages just tacked to every open space on the wall – the set design and anyone who worked on the room sure spent a nice bit of time making the place look like the stronghold of an insane man. We’ve seen this kind of thing before, but the way Keating directs these scenes it’s definitely tense and has a spooky air of mystery.
My most exciting moment, personally, during the film is when we get the first bits in the basement. Ed is walking around with a flashlight, and at first it seems like we’re simply watching an angled shot of him, when in reality it’s a view from the eye of the pod, or whatever it is hiding down there. VERY VERY EFFECTIVE! I loved this moment because it was a nice touch, unexpected and a little unnerving at the same time, too.
I’m not saying that Pod is a perfect movie, not at all. My problem is that when I went online to see what people were saying, so many moviegoers – likely many of whom pirated the film instead of paying for the pleasure – seem to say “Oh it’s like an hour of arguing and screaming”. There is plenty of arguing, definitely some screaming at points, but what did you expect? This is a riveting family drama for the first quarter or so, then it plunges into a mystery thriller before hitting the horror stride full-on within the last half hour. I mean, there’s no real doubt Ed and Martin would be yelling at one another. First of all, Martin’s psychologically damaged, he’s probably taking some drugs, Ed is completely fed up with his brother. Naturally there will be some fighting. So I just can’t agree with anybody saying this is ALL arguing and yelling. It’s not. Plus, this is a horror film and there are intense scenes of – you guessed it – horror. So I don’t see it as totally unrealistic that maybe people would be yelling at certain points. You don’t think you’d be frightened? Not even when a hideous, terrifying creature of some sort is coming up the stairs out of the dark after you? I call bullshit.
With one whopper of a final 20 minutes, I can’t say that Pod is a bad film. Honestly when I go on IMDB and I see that a good indie horror film, with sci-fi elements, has a low rating like 4.5 (which would equate to about a 2 out of 5 star rating by my site’s terms), I’m consistently amazed at how lame a lot of people rating online have become. What’s so bad about this movie you’ve got to rate it THAT low? The acting isn’t bad. Lauren Ashley Carter does a great job as Lyla, Dean Cates is solid in his role as the caring and serious brother Ed, but can you really deny that Brian Morvant did a terrific job with the character of Martin? If you say he’s no good, I just feel you’re kidding yourself. It was a frenetic performance and it came off well.
I did love the inclusion of Fessenden, at the same time his character and how quick that aspect lurches into the film is one of my only big problems with Pod. I’m fine with the whole angle of someone protecting the pod, or having a part in the pod being there – whatever. The part I cannot abide is how swift that part came on, there’s no real buildup to this scene. I’m not asking to have things spelled out for me, though, there’s no way I can jive with how suddenly Fessenden’s character showed up and what he’s done (I won’t spoil it fully).
Ultimately, I’ve got to say this is a 3.5 out of 5 star film. There’s an intensely horrific final 30 minutes, beginning with a gory throat cut then introducing the alien/pod in the basement, which all ramps up to the creepy and messy finale as Ed faces off against whatever the thing is Martin had been warning him of all along. The effects are KILLER here and I thought the pod/alien design all around was so perfect! The sounds it makes at the end while fighting with Ed are outrageous, I loved it. Unsettling piece of horror with that small sci-fi twist.
See this and absolutely DO NOT pay attention to all the slagging going on over at IMDB and other online sources. People who probably don’t appreciate film are the ones commenting, I see many of them brag they’ve not paid for it in any way and downloaded it for free, so honestly I don’t take people that seriously if they’re not willing to pay for films. Just sours my view on someone’s perspective when they’re robbing filmmakers then shitting all over their movies.
So get a copy legally, watch it, then tell me how you feel. I’m not saying everyone will love it, merely I believe this deserves more attention than the people online are giving it. They’ve clearly not paid attention to the worthy aspects of Mickey Keating’s film because there are likeable elements which I enjoyed a great deal. Nice little indie horror film for a rainy day when you want to get creeped out.
Will, Hannibal, and the Great Red Dragon come face to face.
30 Days of Night. 2007. Directed by David Slade. Screenplay by Stuart Beattie/Brian Nelson/Steve Niles; based on the comic by Steve Niles & Ben Templesmith.
Starring Josh Hartnett, Melissa George, Danny Huston, Ben Foster, Mark Boone Junior, Mark Rendall, Amber Sainsbury, Manu Bennett, Megan Franich, Joel Tobeck, Elizabeth Hawthorne, Nathaniel Lees, and Peter Feeney. Columbia Pictures.
Rated 18A. 113 minutes.
To start, while I don’t like that director David Slade did one of those junk Twilight movies, I’m a big fan of his work on Hard Candy, the episode “Open House” in the 4th season of Breaking Bad, and most of all I love his directorial efforts in the 5 episodes of Hannibal he directed (“Mizumono”, “Ko No Mono”, “Savoureux“, “Potage“, & “Apéritif“); he’s also produced nearly 30 episodes of the show, as well. One of the reasons I think he actually ended up involved with Hannibal might be due to his work here in 30 Days of Night because of the level of blood and how it looks, the visuals. I don’t think this is a spectacular movie, though, one of the things I do enjoy most about it is the overall aesthetic – from the atmosphere and tone to the actual look of the blood and the effects.
I have mixed feelings about 30 Days of Night. On one hand, I think there’s some decent acting along with incredible visuals and plenty of good ole blood and gore. But on the other, I do feel as if the script is pretty flawed in a few places where it ought to be much stronger.
Right off the bat, even though the tone of the movie is awesome and that aspect often takes time to build, I feel as if 30 Days of Night is a tad too long. I mean, I’m a person who loves both atmosphere and character development in horror. Really helps a movie sort of grab hold and not let go if you can fall into it those ways. Yet there’s a point where things go on too long. I think there could’ve been 15-20 minutes cut from and it wouldn’t have damaged the film, but that’s only my opinion; I’m not a director, I’m not a screenwriter. I just think that, while the concept of this movie is awesome, it isn’t particularly tough to grasp. There’s no need for this pushing two hours. And I get it – 30 days – but that’s the funny thing, even in that amount of time I still felt like those 30 days had passed quickly, so I find it all very strange.
That being said, I do really love the story. Funny enough, the comic series started as a film pitch. Ended up as a comic then began a movie; weird how the system works, as soon as it’s viewed as a commodity in the comic world THEN the execs want to use it because it has a base already. Sad, funny, weird.
Unfortunately, I have a few problems. Right off the bat, Barrow can be flown to almost every day of the year – like anywhere else conditions can vary, but it’s not inaccessible and especially not for 30 days at a time. Then, it’s as if Barrow is completely lit up one day then the next day there is complete darkness, stretching on for a month. Totally unrealistic. It’s a slight process until the darkness has sort of spread over the entire town. But, y’know, I guess if we’re talking vampires there’s a slight suspension of disbelief going on in the first place. Still it’s hard to get past blatant and upfront errors like that when the whole plot pretty much hinges on some of these facts. While it originates from the comic, it might’ve been better had the adapted screenplay tried to fix some of these mistakes. I don’t know how that whole adaptation process works, so I’ve no clue how much liberty the screenwriter would’ve had in terms of crafting a slightly fresh story. Either way, I don’t like how parts of the story’s logic works against the film, I don’t care if it went that way in the comic series or not. They would’ve been better off coming up with a fictional Alaskan town instead of using Barrow and so obviously distorting factual stuff.
There are pieces of the film I do truly enjoy.
Love the music. Of course, it turns out Brian Reitzell – another Hannibal alumni – is the composer. Great score, honestly. Lots of strings and some brass, interesting percussion for which he seems to have a fondness.
As I mentioned earlier, I think part of why David Slade ended up on Hannibal himself as both director and producer is because of how he works visually. For all the crappy storytelling and logic in 30 Days of Night, Slade injects a ton of brutal and beautiful imagery. One of my favourite shots – and everyone’s I’m sure of it – is the aerial view as the vampires first really take hold of Barrow; it’s this amazing shot sort of floating above, all the creatures feeding, blood spurted everywhere in the snow. All that white against red, the music, everyone screaming and the vampires making hideous noises. The movie is overall nothing special to me, but I have to say that this particular shot is one of the best shots in a horror movie over the last decade. Too bad the entirety of the film couldn’t hold up to the aesthetic Slade tried to give it. Unfortunately for him, the story’s just not there.
Big thing I did enjoy are the vampires themselves. It’s strange how Slade went from vampires like this to those of the Twilight persuasion; a conversation for another time. Here, though, the vamps are how they ought to be: cruel, Other-ish, savage. I thought the way the production of the film came up with a language for the vampires was interesting because it worked, as well as the fact it sounded pretty damn eerie to hear them communicating. Very mysterious and cool. I liked this aspect of the movie a lot. Naturally, a vampire movie’s main aspect needs to be the vampires – regardless of anything else, the plot, the subplots, the story, it’s all secondary to the vampires. Honestly, if you don’t have good vampires it won’t work no matter how fresh a story ends up.
At the same time, no matter how god damn scary your vampires are, no amount of savagery from them can save the lack of proper story and logic which is so evident in 30 Days of Night.
I don’t care how visually incredible I find this film, I can’t in all good conscience give this movie more than 3 out of 5 stars. To be honest, I want to give it 2.5 instead but I won’t simply because I think there’s a great all around look and feel to 30 Days of Night. There is a good story in there, however, I just cannot bring myself to get past glaring errors. Straight away, the whole inclusion of Barrow is a terrible decision; from the comic to the film, bad idea. Extreme weather would keep flights out maybe a day, possibly two, but there’s no way in hell Barrow would find itself cut off for longer than that. Certainly not for 30 days. Anybody with Google can figure out – from proper sources – all the information they need about Barrow, or any other god damn place on the map for that matter.
Okay, you know what? This gets 2.5 out of 5 stars. There’s too much bullshit nonsense happening for me to ignore and while I love the vampires, plus all the bloody, gory intensity which comes along with them, I can’t ignore enough for that to make this worth it.
30 Days of Night is good enough for the vampires. Come and see them, enjoy their bloodletting. Don’t come and expect to get a story and plot that’s ultimately going to make you think something fresh and innovative happened here. While the idea is great, using Barrow to accomplish it, trying to root this in reality, fails because REALITY WILL NOT LET IT WORK. There was a time I didn’t think too much about the logistics of this movie, I turned my brain off I suppose. I let the movie whisk me away with its aesthetically pleasing blood on snowy landscapes and the dripping gory faces of its vampires.
Now, I see you for what you are, 30 Days of Night: a farce and a letdown. You’re no better a movie than half of the crap getting churned out. This movie works for me only in the way any other mindless, nonsensical movie does, like that type of action or comedy or whatever you don’t need a brain for – switch off, tune out, enjoy. Took me a while to figure this out. If you want David Slade’s best work, go watch some Hannibal, or the excellent Hard Candy.
The Bunny Game. 2010. Directed by Adam Rehmeier. Story by Rodleen Getsic & Adam Rehmeier.
Starring Rodleen Getsic, Jeff F. Renfro, Drettie Page, Coriander Womack, Gregg Gilmore, Loki, Curtis Reynolds, and Jason Timms. Death Mountain Productions.
Unrated. 76 minutes.
Sometimes there comes along a film that is so dreary and needlessly graphic that I question why it was ever made. Now, before anyone says “Well if you can’t handle it then that’s not the film’s problem”, let me tell you this – I’ve seen plenty of disgusting, disturbing, outrageously graphic, gory, and beyond fucked up films in my time. I’ve seen a little over 4,100 movies in total. Many, many of those are horror. I’ve seen my fair share of good horror, as well as a lion’s share of terribly made, awful horror movies. I own Cannibal Holocaust, which is a nasty piece of work, and I’ve actually seen Salò, or the 120 Days of Sodom one more than once occasion – don’t ask me why. Plus, I’d actually consider those good horror. Then there’s the type of stuff I’ve just about perished while trying to watch, like the absolutely terrible August Underground stuff; pure, utter tripe, does nothing for the genre except make it look awful. Realistic? Sure. Realism does equate to quality, though.
So when I say that The Bunny Game is a grim and dreary, nasty piece of work, I’m saying it in the sense that it is all that but nothing comes of it. It’s not a good film overall. Ultimately, this is one of those brutal horror films which goes nowhere with what it’s trying to accomplish, and by the end you’re just wondering: A) why didn’t I turn this off sooner?, and B) I hope nobody makes a sequel to this one.
Either way, the result of The Bunny Game is not, as some no doubt paid crew members have spouted off on IMDB and other sites, in any way the reinvention of the genre. No way, shape, or form is it anything close. I never like to rag too hard on a film, but unfortunately for this one I just cannot find the words to express anything enjoyable or positive about any aspect of this muggy turd.
Bunny (Rodleen Getsic) is an unfortunate soul, left on the streets – who knows what her sad story truly is – and resorting to prostitution.
She goes from one motel room to the next, searching for another meal, trying to stay high and alive. She squats and pees on the side of the road because she has nowhere else to go. She’s also so coked up that she passes out; one of Bunny’s customers goes ahead and has sex with her anyways, then proceeds to loot the bag she carries around constantly. After waking up to find the trust backpack empty, she loses her mind. But it’s just back out on the street once more, on to another miserable day.
Finally, she gets picked up by a trucker who wants to do some drugs with her; he needs a pick me up after a long stretch on the road. But that’s not all he wants – Bunny is taken hostage, thrown into the back of his truck, where a camera is setup, there are chains, and the trucker has plenty of sick games in mind for the poor, lonely girl.
At times we’re treated to these shots that go on for what feels like eternity, and I’m truly at a loss as to why they’re in film. I get that the trucker guy this insane dude, is supposed to be developed slightly before things get going into the brutality full-on. However, having this man just walk around a little, smoke some cigarettes, drive – I mean, what’s the purpose? Perhaps if there were some nuisance, subtlety in this character, or in the performance, there’d be a reason to focus so much on him in such a languid, boring way. The camera’s not doing anything interesting, we’re simply watching this man. There’s nothing going on much in his face, in his mannerisms, though, I suspect there should be. We’re just not seeing much.
Then he climbs into the back of the truck with Bunny, who is out completely cold, and the real misogyny and nastiness begins. I honestly loathe the stupid “torture porn” label because I think it’s stupid, although I realize what the label is meant to convey. That being said, I’d go ahead and say this is the concept of “torture porn” at its worst, at the most base and vile it can be on film. We’ve got to watch this mental trucker suck on Bunny’s nipples, play with her earlobes and other weird sexual stuff. It’s fine to have a character that deranged in the movie, but why do you have to explicitly show all this stuff? Only makes things disgusting. There’s nothing scary about what he’s doing, it’s the same as watching a badly lit, poorly shot pornographic movie that’s all about sadomasochism and extreme bondage. That’s pretty much what this whole section felt like, as he trucker revels in having Bunny captured in the back of his truck’s trailer. You don’t have to go subtle on every last creepy/scary scene. For me, though, I find there needs to be some sort of tension through not having to graphically see every last bit of the nasty business. Adam Rehmeier says fuck that. Leave nothing to the imagination.
Also, just the fact that the trucker does a bunch of nonsense supposedly “crazy” stuff, it really took me out of things. So much overacting. Awful, really. I thought it was bad, others think he’s some kind of amazing villain. Seriously? I couldn’t get into it. One bit of bad shlock after the other. Huff gas – go crazy – laugh – tell Bunny to shut up or shhhh – repeat.
The black-and-white also did nought for me. I honestly gave The Human Centipede II a star or so just because I found Tom Six’s use of black-and-white pretty interesting in some of the more tame scenes. They gave it a nice off-kilter feel that was very creepy. Here, The Bunny Game feels like it used black-and-white to try and force the idea that this is somehow an innovative or interesting film. There is nothing good about the movie and the use of black-and-white only made things more dismal; not in a good sense.
Ultimately, the whole movie is a bunch of perverse nonsense, mixed with Rodleen Getsic screaming at the top of her lungs a little, plus a ton of quiet, boring moments with the trucker doing nothing at all. Honestly, I don’t jump on a film for the sake of jumping on it. I’m actually one of the types who is often a fan of films people hate – not as a rule, there are just a handful or so of movies I love that others despise (like Exorcist II – fucking love it!). But I just simply can’t bring myself to like what Adam Rehmeier has done here. There’s nothing inspiring in terms of the horror genre, it’s a retread through territory we’ve seen before, just as nasty, but there are plenty of so-called “torture porn” films out there which aren’t this terribly made or as horrid for no purpose.
I also saw, maybe on Bloody Disgusting or a similar site, that someone said this was extremely well edited. Is that truly their opinion? My good lord Satan. If they think this is masterful editing, I don’t want to see what they find to be bad examples of editing. Because this is, at times, like a black-and-white music video on crack. There’s a frenetic quality to it that’s absolute irritating, as well as fairly useless in my opinion. I really hated the way this was edited, and to think others found that to be one of its best, probably its only, good aspect – I can’t fathom what other poor movies they think contain nice editing. There’s not a moment where I found myself impressed by any of the technical side to The Bunny Game. I’m not trying to be mean: there’s nothing here that’s any good.
In all good conscience, I cannot give this film a single star. On IMDB, you can’t give 0 ratings, so if you happen to come across my ratings page on there and see it has 1 star, versus my 0 here, just remember: they won’t let you do it.
There is not a solitary redeeming aspect of The Bunny Game. It aims to be terrifying and disturbing, and while it may come across as the later at plenty of moments there’s nothing overall scary about this film. There’s not an ounce of suspense or tension in the whole lot; that’s enough to kill any horror. The acting is bad. There’s mostly a lot of yelling and screaming and spitting and weird touching and sexualization at every near, but no good acting, the script is complete trash, and the thing is filmed poorly.
I suggest that you see this only if you’re a completist, or if you’re one of those people who gets off on terrible horror that borders on the line of being the recreation of a snuff film. Otherwise, pick up a better bit of horror and have yourself an enjoyably creepy view! This didn’t make me feel anything, not for a second, and if a horror doesn’t scare me, even in the slightest sense, I don’t see what the point of it is in the end.