Tagged Spanish Film

[REC] Follows Everyday Life into a Zombie Epidemic

[Rec]. 2007. Directed by Jaume Balagueró & Paco Plaza. Screenplay by Jaume Balagueró, Luis Berdejo & Paco Plaza.
Starring Manuela Velasco, Ferran Terraza, Jorge-Yamam Serrano, Pablo Rosso, David Vert, Vicente Gil, Martha Carbonell, and Carlos Vicente. Sony Pictures.
Rated R. 78 minutes.
Horror/Mystery/Thriller

★★★★1/2

First off – I’m not one of these snobs who feels the need to distinguish between a “zombie film” and an “infection film”, okay? If you’re going to argue with me, or not take my opinion on this great movie seriously solely because of the fact I’m going to call this a zombie movie (as I will any movie that features infected people who kill other human beings), then turn away now! For I will throw out the words “zombie film” & “zombie movie” like I’m giving away candy.
REC1-620x330Are you ready? Then let’s begin.

It’s actually sort of funny when I think about it – [Rec] is a combination of two very played out, tired sub-genres of horror: found footage and zombies. Now, I’m not saying these are the types of films I don’t enjoy. On the contrary, I love both found footage and zombies. That’s if they’re done well. Just as gangs of undead roam the apocalyptic streets of the sub-genre, hordes of zombie films crowd the market, as tons and tons of young amateur horror directors try to us their vision of such a world. There are actually a lot of really great zombie movies, however, as many of them that are good are paralleled with equal numbers which are mediocre (at best) to terrible – to unfortunate. The same goes for found footage. I really enjoy a bunch of found footage movies. By the same token, I can think of more than several handfuls that I did not enjoy. I think more and more these days, the amateur horror director now leans towards doing a found footage film above a zombie movie. Because whereas a zombie movie can be done on a low-to-non-existent budget, you can do found footage for as much or less.

recThen there is [Rec].

These two directors show us the story of a television reporter, Ángela Vidal [Manuela Velasco], and her cameraman, Pablo [Pablo Rosso], who are filming footage of the night shift at a local fire station. When an old woman calls, apparently trapped in her apartment, the firemen respond. Terrible screams are heard from the old woman’s apartment. Afterwards, the firefighters, along with Ángela & Pablo, discover what exactly is happening. From here, the night turns into a nightmarish situation for the news crew, the firefighters, and everyone in the building, as soon they are all trapped inside the building. While the situation unfolds, Ángela makes Pablo keep filming to make sure the outside world knows what horror has begun.

xtuuSOne aspect which can really kill a found footage film is how the filmmakers actually present the so-called footage. For instance, in Ti West’s recent film The Sacrament he used the real life news outlet VICE to help portray the footage itself – as they often do stories that are considered “immersionism”, this fit the film well because West was able to edit things, add a very foreboding score, and other such things. In the case of [Rec]Balagueró and Plaza present their film as a television news report. Essentially it all goes awry, and then the reporter plus her cameraman are left to fend for themselves. The fact Ángela urges Pablo to keep filming so they can let the world know what is happening in the building really helps the found footage angle work. Usually, we get people arguing “turn off the camera”, and then it all devolves into arguments, screaming, characters are then divided to later be killed off, or whatever the case. In this sense, many found footage movies can really blend together into the same old garbage. However, by having Pablo keep filming at the insistence of Ángela, this really makes things feel natural. It’s not one of those roll your eyes moments where you think “how typical”. This is one of my favourite things about this movie. I think [Rec]2 also did a good job of continuing this trend, and making the presence of found footage feel much more real than other lesser films.
1860277-rec_2007_2
I think while a couple performances, particularly those of Manuela Velasco and even Pablo Rosso, were really good, much of what I most enjoyed about [Rec] was the blood and the zombies. I mean, that’s what we really come to a zombie movie looking to find. With this film, you will get your money’s worth. In particular, I just wanted to mention one of the last zombies we actually get to see in the movie. Without ruining anything in the plot, there’s this extremely terrifying zombie wandering around in the basement when Ángela and Pablo make their way down there. You’ll know which one I’m talking about because this scary lady is not only naked – she’s brandishing what looks like a ball-peen hammer. Now, I won’t go any further and say what exactly happens. I’ll just say this one bit of zombie make-up really looked spectacular. It’s very rare I actually drop my jaw and lean into the screen for a closer look at something creepy. This moment had me glued. I really love it. Plus, what happens after they come across this specific zombie is wild.
Rec-still-2I can give this a 4.5 out of 5 stars easily. This is one of the best zombie films out there. I know there are a lot of purists who seem to think George A. Romero is the only person to ever make a real zombie film. I say that’s absolute bullshit. He is the godfather of the modern zombie sub-genre in horror. Of that, there is no doubt. But you can’t discount a whole sub-genre (or maybe you could say it’s a genre unto its own nowadays with The Walking Dead dominating television on AMC) by saying only one man can do it right. I love his films. Still, there are plenty of other great zombies out there. Some of those are in [Rec].
rec04With the newest addition to the series out in the last few days, I wanted to revisit this modern classic. I love this one, as well as the sequel. And while I don’t particularly dig the third installment, this fourth movie almost reminds me of one of the Resident Evil games – Revelations, I believe – takes place on a ship in the middle of the ocean. Anyways – point is, I’m looking forward to seeing it myself. While it doesn’t seem to be the favourite of critics, I never usually fall in line with popular opinions. I’ll wait and see myself. If you’ve not yet seen any of these, please do yourself a favour and watch them soon. [Rec] is a fascinating found footage film, and it brings all the zombie carnage and mayhem you could have hoped for – highly recommended.

 

 

 

Gary Oldman Fights for Innocence in BackWoods

BackWoods. 2006. Dir. Koldo Serra. Screenplay by Serra & Jon Sagalá.
Starring Gary Oldman, Virginie Ledoyen, Paddy Considine, Aitana Sánchez-Gijón, Jon Ariño, Lluís Homar, and Kandido Uranga. Lionsgate.
Rated 14A. 97 minutes.
Thriller

★★★★ (Film)
★1/2 (DVD release)
tirtle-backwoodsThis is one of those films I may never have heard of, if only maybe for a late night search spree on lesser known Gary Oldman flicks, except for the fact I stumbled across it in a $5 bin at a local rental place a few years back; in fact, the disc still has the store’s sticker on it to this day. I saw it, realised that not only was Oldman in it but also Paddy Considine of whom I’m a really big fan, and snatched it up quickly. Turns out it wasn’t just a decent little snag for five bucks. It’s a quality movie. An old school backwoods style thriller. There are times it not only feels set in the 1970s, I truly felt a lot of moments could’ve almost been filmed back then, as well. There’s certainly moments of homage towards both John Boorman’s classic Deliverance, as well as Sam Peckinpah’s 1971 dramatic revenge thriller Straw Dogs. Mainly there’s just a really great nostalgic feel about the story and the setting, which comes across quite well.
BackWoods sees two couples, Paul (Oldman) and Isabel (Sánchez-Gijón), as well as Norman (Considine) and Lucy (Ledoyen), venturing into the Spanish back country. Paul and Isabel now live in the Basque region after they married. Norman, and his young wife Isabel, are heading to visit. An idyllic vacation in the forest turns to a nightmarish situation when Paul and Norman stumble across a deformed little girl who has been locked up in a small shed-like structure, pad locked and hidden away. They bring her back to Paul and Isabel’s home in the woods. But not long after, local men from the village show up looking for the girl, and all is not as it seems in the quaint little pocket of Spain. Paul and Norman find themselves facing a desperate and brutal situation, fighting for their lives, as well as those of their wives.
This goes down some of the same roads we see in Peckinpah’s Straw Dogs. Specifically, the character of Norman is really pushed to his limits here. Initially even the sight of a rabbit being killed by Paul is shocking to him; there’s a lingering shot of Considine looking fairly troubled by watching the rabbit die. However, Paul tells his friend something which resonates through the whole film – “there are hunters and prey, Normanits the only fucking truth in this world.” While Paul understands the human nature of hunter and prey, Norman doesn’t quite get it. His rude awakening comes later in the film when the men coming to look for the deformed girl appear to be more ruthless than he could have ever imagined. It’s a really great way to introduce these themes, all starting with just a tiny little rabbit. Nice touch.
backwoods2
I really enjoy how this film stayed mostly as a dramatic thriller. It had a few little elements of horror (the backwoods ‘battle’ between city folk & villagers + the deformed girl locked away in the woods/ et cetera), but it didn’t stray into full on terror or anything. This works really nicely as a 1970s style thriller.  It’s also particularly performance driven, as opposed to plot. While the plot is deceptively simple, the characters here are rich and very full.
For instance, Oldman’s character Paul is a pretty diverse character. There is a lot to him. I get the feeling he sort of went out living in the forest with his wife as a kind of challenge. One aspect I enjoyed once the villagers lay siege on Paul and the others is how there was so much tension between the two sides. On one hand, Paul feels he belongs there, and he does because he already lives there; he made it his home. The other side, the villagers, see him still as an outsider. Worse still, he has clearly wandered into their world. He is not one of them, regardless of how well he hunts and navigates the male-dominated world of the villagers.
This leads me to another part of BackWoods I enjoyed a lot. Whereas a lot of films might have taken up a portion of the running time drawing out the deformed girl’s story, rounding things out and maybe giving her some kind of history, Koldo Serra leaves intrigue to spare. We don’t get any definitive answers on what exactly the deformed girl is doing out in the woods, in the sense of who she is or where she came from – it’s simply a plot element. It sets up the city versus nature theme running throughout the film, which ultimately drives Oldman’s character. Norman, Considine’s character, is also affected by this theme, as he is even less of the “back country” type than Paul. He is even more thrown into chaos because of how far removed from that lifestyle living in the city keeps him. There’s even a scene where Norman raises his gun to kill a rabbit of his own – ultimately, he is unable to actually pull the trigger. This sets the stage for the real burning question to come later – can he pull the trigger when it’s more than a rabbit staring down the barrel of his rifle? We get the answer later in a very tense, horrifying scene. Of course, what happens then sets off a whole other chain of events.
The entire presentation of these themes is really well done, and made the film more than just a backwoods thriller. It lifted this from out of simple genre fare. This could very well have been some exploitation film, a cheap grindhouse style movie. Instead, it becomes a tension-filled dramatic thriller.
backwoods-2006-07-g
For the most part, a lot of BackWoods surprised me. I figured it might go down the same road as similar films. Instead, it subverts a few of my expectations. For instance, the scene where Norman is finally forced to either pull the trigger, or else face possibly terrible consequences, I really didn’t expect it to pan out the way it ended up going. I was happy because I thought Norman wasn’t going to change whatsoever as a character. His actions both change him and create more issues for his character to deal with. It’s really great stuff.
The ending, as well, was not something I particularly saw coming.
backwoods-2006-20-g
This can safely be categorised as a 4 out of 5 star film. There isn’t a whole lot wrong with it, but it’s not perfect whatsoever. I think Gary Oldman and Paddy Considine did a really wonderful job fleshing out the characters they portrayed. Particularly, Oldman gives a strong and emotional performance, unlike a lot of the roles I often enjoy him in, and I don’t know how more people don’t talk about this one, or at least mention it in passing – solid lesser seen role by Oldman. There are also a couple excellently paced chase sequences which help move the film along nicely.  The pacing was helped by how the plot never gets too bogged down in one area, however, that’s also a drawback – I wanted to know more about Paul and Isabel because it seemed there was more to their relationship than what we were given. While sometimes it’s nice when less is more, there are case, like BackWoods, where I could have even done with an extra few scenes just to really give us a portrait of their lives. Oldman does such a spectacular job with his character, I feel even more justice might’ve been done to the film in general had they provided more insight.
Regardless, BackWoods is a pleasant surprise. When a lot of tripe gets doled out in terms of thriller films, this is a refreshing little movie that doesn’t go down all the expected routes.
While the DVD is fairly lame, providing only the film itself (though the picture/sound is beautiful & it looks gorgeous in widescreen) and a trailer, I highly would recommend anybody who can get their hands on a copy of the film do so – it is worth your time. I don’t watch it often, when I do I’m always impressed with the thrill it provides. If you’re a fan of Oldman, Considine, or just those gritty 1970s revenge thrillers in the vein of Straw Dogs and the backwoods city versus nature themes found in classics like Deliverance & even less praised titles like Southern Comfort, this will no doubt quench your thirst. You can do far worse for a movie night than BackWoods.