Uwe Boll's third film of the RAMPAGE trilogy flies way off the mark.
Insidious: Chapter 3. 2014. Directed & Written by Leigh Whannell.
Starring Lin Shaye, Stefanie Scott, Dermot Mulroney, Angus Sampson, Leigh Whannell, Tate Berney, Michael Reid MacKay, Steve Coulter, Hayley Kiyoko, Corbett Tuck, and Tom Fitzpatrick. Blumhouse Productions.
Rated 14A. 97 minutes.
I’m a fan of the two previous Insidious films. Reason being, I think James Wan did a pretty damn good job, together with the script from Leigh Whannell, in conjuring up a tense, suspenseful, and eerie atmosphere. Above all, I love when a horror film can carry that sort of atmosphere and tone throughout its runtime. While they’re not perfect, the first two movies were scary; to me anyways. I dig a good haunted house story and Wan/Whannell provided that with Insidious and Insidious: Chapter 2.
There was no surprise Blumhouse would try and pump out another one. I waited with baited breath to see exactly what might come out of it and I didn’t exactly expect that the third in the trilogy would live up to what the first two created. However, I was slightly surprised. It isn’t great, but Insidious: Chapter 3 has a good bit of that atmosphere and tone from the first two, as well as the fact Lin Shaye returns in another stellar performance as embattled demon seeker Elise Rainier. One thing I think that helps most is the fact Leigh Whannell not only writes this entry in the series, he makes his directorial debut with the third part, which extends much of the creepiness created by himself and Wan throughout the first two movies.
Taking place a long time after Elise Rainier (Lin Shaye) helped a young Josh Lambert with his problems, and just before Josh’s own son Dalton went through the same trouble, Insidious: Chapter 3 begins with Quinn Brenner (Stefanie Scott) going to see Elise Rainier unannounced. Her mother passed away and Quinn wants to contact her. Unfortunately, while trying to help Elise is clearly troubled; she advises Quinn find someone else who does the same thing and get them to help.
At home, Quinn’s single father Sean Brenner (Dermot Mulroney) tries to wrangle everything by himself. Between Quinn and her little brother Alex (Tate Berney), things are hectic.
An aspiring actress, Quinn heads to an audition. She’s looking to get into a good acting school for her post-secondary studies. Instead, out of nowhere, Quinn is hit by a car. This propels her, for the briefest of time, into The Further. After she comes back quickly, out of the darkness and back to reality, Quinn has clearly seen something inexplainable, something in another world. This sets off all the mysterious events which follow.
I thought the writing – especially the characters themselves – was fairly solid. Once again, the family is a centrepiece for all of what unfolds in terms of The Further (see my other reviews for Part 1/Part 2 if for some reason you’ve not watched the previous movies) coming into play. For instance, the teenage characters don’t come off as too forcibly written on Whannell’s part. What I mean is that they’re smart, obviously, but they don’t say these ridiculously eloquent, elaborate things NO highschooler would ever say; I can’t think of great examples off the top of my head, but you know the types, you’ve seen them before. So that’s one thing I thought Whannell did great with because too many screenwriters – especially male screenwriters trying to write female characters –
Some people say Insidious: Chapter 3 is not as scary as the others. Me, I say there’s definitely some nice, creepy stuff happening in this instalment. Even quickly off the bat, Quinn starts seeing a shadowy figure in the distance waving to her, almost calling out for Quinn to follow. First, the figure appears in the catwalk at the theatre where she’s auditioning. Then in the streets, right before she’s hit by a car, the figure – a man – waves at her from far off once more. These little bits help to make a similar dreadful atmosphere as Wan culled in the first two films. Although here it’s different, which isn’t a bad thing. Everything is still eerie, though, Whannell brings his own style to the mix.
I also liked the little quick jump-scare of the man’s face in close-up – when Quinn slips into The Further briefly while surgeons are working away on her after the car accident, the terrifying face flashes quickly. What I love most about this is how it reminds me of the quick flashes of the demon in William Friedkin’s The Exorcist; not sure if this was intentional, but it does bring that shot to my mind specifically. Also, this didn’t make me want to have a heart attack like certain jumps do. It was brief and very effective at the same time.
A huge aspect of why I enjoyed this third film is because we’re getting more out of the character Elise Rainier. Even in the slightest ways – she lays down in bed and says “Goodnight Jack” and hugs tight to what looks like a man’s sweater. So there’s depth to Elise, she isn’t merely a one-note psychic sort fo woman. And I love that, not just simply due to the fact Lin Shaye is a total badass and wonderful actress (even in her slovenly role as Landlady in Kingpin which still haunts me to this very day). Elise is a big part of why I loved both movies; I’m not huge on her sidekicks, Specs (Leigh Whannell) and Tucker (Angus Sampson), but I think her alone is enough to keep anyone interested. Particularly, after we’re treated to the flashbacks showing a young Josh Lambert being plagued by demons in The Further and Elise coming to their aid, doesn’t it make you just want to know everything about her? Then there’s her relationship with Carl (Steve Coulter), who showed up in the last film, which I thought was an excellent inclusion. In this movie, we see a little more of Carl and so his character/story gets a little more broad than before.
Most of all, though, it’s Elise. She is what draws me to the franchise overall, as it’s her who has dealt most closely with demons and The Further, she knows all about it and she has all the senses. I love the scene here where she’s lying in bed, hugging her obviously late husband’s cardigan (we discover later for sure he committed suicide only a year before), and then out of nowhere she feels something, a presence, she scrambles for the light – nothing’s there, yet the air feels terrifying. Good stuff showing how sensitive Elise is to the other side opposite that of the living.
The overall aesthetic of Insidious as a franchise is something which keeps me interested. It’s the whole reason – aside from Lin Shaye – I ever bothered to go see this one.
I’m a huge fan of the score in these films. I’d not – to my shame – checked on who was the composer for the music in either of the films. So doing this review I wanted to see if it was the same person. Naturally, it was: Joseph Bishara. The reason I had to check is because, while there are plenty of similarities, Bishara does bring us some new work in the score for Chapter 3. A lot of those heavy, dreaded string bursts are still present, however, he also gives us some bright and beautiful sounding stuff such as in a few scenes with Elise. Either way, he is one part of why that finely tuned aesthetic from the series keeps going.
While the look in this film was handled by a different cinematographer, Brian Pearson, I do think he is up to snuff with how he crafts the scenes visually. Just to note, Pearson did some work as D.P on the fairly excellent series Masters of Horror, as well as a recent film I’m a big fan of – the savage and excellent American Mary. He does good stuff keeping many scenes draped in darkness, as the previous films looked. So even though it isn’t exactly the same carbon copy of style, there is a ton of similar atmosphere built up through how Pearson shoots each scene in a tone down, darkened manner.
Furthermore, the art director Jason Garner worked on the previous Chapter 2, so I think his clearly excellent work there extended to this film. For those who aren’t big on the job descriptions for film work, an art director helps to create the film’s vision in terms of locations, sets, and that in turn brings about a visual aesthetic for the film. The houses and everything which are new in this movie, they really fit in with the entire Insidious franchise world. If you watched these all simultaneously, I think they’d match up unbelievably well.
In regards to the plot, I like the character of Quinn and how she ended up in contact with The Further. Plus it plays into the whole subplot of her mother’s death, trying to reach her in the afterlife and such. It’s a great way to have spun things off from the central story of the first two Insidious films. A lot of these spin-offs can end up really spinning out of control, or just being nonsensical additions to a franchise simply for the sake of raking in money. With this movie, I don’t see it being that way. Sure – profit is the major concern of studios. However, I think especially with Leigh Whannell writing this instead of it being farmed out to writers/directors not already a part of the franchise, Insidious: Chapter 3 is able to hold up in quality near to its predecessors. It’s not as good, but I feel as if it’s pretty damn close.
Also thought it was great the way Whannell setup The Bride in Black as being an entity who actively wanted to kill Elise. This sort of explains their history, as well as why the Bride purposely got into Josh and then strangled Elise at the end of the first Insidious. Not as if there was a massive need to explain anything in detail there, I just find this movie’s script capitalized and added more depth to the other films.
All in all, I think this was a 3.5 out of 5 star film. It wasn’t perfect. My biggest complaint about Insidious: Chapter 3 is that there’s more unfunny comedy with Specs/Tucker – something I didn’t like about the others but here it’s even more unbearable with such forced comedy on behalf of the Tucker character. Very lame. Then, I also thought there was something missing about the possession angle involving Quinn. While I found Josh Lambert’s possession in the others excellent, plus Patrick Wilson played him well, I didn’t like the way they did Quinn’s possessed state. It was too similar to the rip-offs of Japanese horror in American movies. I liked lots of the stuff involving Josh being possessed, it just didn’t seem to carry over here.
The finale of the film was decent. Honestly, though, I prefer the first half to three-quarters of the film because I like the build up, the character development and a view into the already established character of Elise Rainier (Lin Shaye). Mostly the last quarter of the movie I found wasn’t as effective as the scariness of the previous two Insidious entries. It isn’t bad, just doesn’t pack the punch you’d expect. If there was a stronger final 25 minutes I’d be more impressed.
Still, this is not bad at all. There’s room for improvement, yet I think Leigh Whannell did a decent enough job keeping up with the other films to make this a pretty good trilogy. I recommend seeing this, though, I’ll still always enjoy the first two more.
My personal favourite is Insidious: Chapter 2. How about you? Let me know in the comments.
The Purge: Anarchy. 2014. Directed & Written by James DeMonaco.
Starring Frank Grillo, Carmen Ejogo, Zach Gilford, Kiele Sanchez, Zoë Soul, Justina Machado, John Beasley, Jack Conley, Noel Gugliemi, Castulo Guerra, Michael Kenneth Williams, and Edwin Hodge. Blumhouse Productions.
Rated 14A. 103 minutes.
★★★★My favourite thing about the fact The Purge: Anarchy exists is that there is room for exploration within the speculative universe that the film/its predecessor inhabits.
There are a lot of social issues in both these films, especially the sequel. Because what we’re seeing in Anarchy here is a group of stories which represent the wide reach of social consequences that enacting an event such as The Purge might cause. It would mean so many different things to so many different people, of all kinds, of all mindsets and sensibilities, of all mental states.
People want to continually try and say that The Purge as a concept would never happen, a government would not allow it. THESE FILMS TAKE PLACE IN A WORLD WHERE AMERICA HAS BECOME A FULL-FLEDGED TOTALITARIAN REGIME! If you don’t understand that and you can’t recognize what that means, then you probably shouldn’t be judging the film because you think “This would never happen”, and you might not want to keep talking about it. Because this is not meant to happen in our reality, this is speculative fiction, it’s a horror-thriller within a fictional near future in America.
So strap in, have some fun. Stop being so serious all the time….
RELEASE. THE. BEAST.The Purge: Anarchy takes place on the verge of the annual Purge event, March 21st in 2023.
Several stories are happening at once. Everyone counts down to Purge time.
On one end of town, Eva Sanchez (Carmen Ejogo) and her daughter Cali Sanchez (Zoë Soul) lived with Eva’s sick father, Rico (John Beasley).
Then there are Shane (Zach Gilford) and Liz (Kiele Sanchez), a couple who’ve clearly hit rough times, and they end up stranded with car trouble just as the event begins to come down upon the city.
All the while, Leo “Sarge” Barnes (Frank Grillo) has a personal tragedy which drives him. He has all kinds of weaponry, a car made to sustain damage throughout The Purge, and there’s obviously someone, or some people, that he seems to be looking for; his bedroom wall has pictures plastered over it.
Once the murder on the streets begins, including the viciously callous Big Daddy (Jack Conley), Sarge and the others end up coming together as the violence escalates to epic proportions, and they’re all forced to trust one another. At least for a little while.SPOILERS AHEAD.
The part of the plot that scares me most is the angle with Papa Rico (John Beasley) because it speaks to social consequences of a different kind than just simply racially motivated, and now sanctioned one night a year in March, murder. Here, we have a man selling himself to a bunch of sick white folk who want to have their Purge in a perceived civilized, more quaint and special manner, and above SAFELY because they’re true cowards who want the thrill without the risk; a celebratory bit of Purging, if you will, dressed to the nines with champagne on-hand.
It’s sick, and it is also something you can imagine happening – brave, brave people sacrificing themselves in such a manner in order to afford better lives for their family members, offering themselves up on the one night a year murder is legal just to help out with the bills and the rent, all because they’re old, or they’re sick, or they just simply don’t want to live in a sick America that has descended into madness.
Great, effective part to the plot that I find highly disturbing in its own right.Then you’ve got Sarge (Frank Grillo) whose motivation to Purge is not like so many of the other maniacs out looking for a sick thrill every March 21st. No, Sarge heads out in the dark of night for the Purge because he has a vendetta, he needs revenge. He isn’t looking for innocents to kill, or perceived ‘scum of society’ (as the fresh young whites in the first film were out doing). He’s got a score to settle. Plus, he’s got the gear and the firepower to make sure the job gets done, and gets done damn well.
I think Grillo is a talented actor. He might not have the extreme range of some others, but he has a lot of heart. I really do think he’s good in this role. Also, the character itself I dig because it shows a whole other angle to the entire Purge that we didn’t get to see in the first film. So to have a guy like Grillo play Sarge worked; he didn’t need to act to any Shakespearean level, he just had to give it some guts, which panned out perfectly. Grillo is a physical dude and that helped for this performance.There’s a genuinely good level of action in this one that the first doesn’t reach. Not to say that’s a problem for the original, but I like that there’s some more excitement here. The premise of The Purge here is bigger in scope, involving more of the city, more people, instead of the more confined location in the first film.
Not only that, I found things truly terrifying. I mean, in The Purge there’s a degree of safety for awhile until things get going and people start to break into James Sandin’s home. Here, there’s just chaos and madness in the streets. Seeing some of the masked people in the streets wandering about with machetes, guns, all sorts of weapons – it’s chilling at times. Imagine getting caught trying to get home and then The Purge comes down on you; what would you do? Run like fucking hell. I like the tension involved in trying to imagine what it would be like on that one night out in those streets. It’d be like a nightmare come to life.There’s some appropriately twisted stuff in this movie.
One part that disturbed me was while Sarge (Frank Grillo) leads his rag-tag group around, they come across that woman with a megaphone just screaming absolute nonsense and firing off an assault rifle; corpses are littered across the street down below. Cracking scene that shows little glimpses into the world of others in this world of The Purge and the New Founding Fathers.
There are some excellent scenes like this, which take us further into the universe started in the first film, a creepily crazed vision of America from writer/director James DeMonaco.
A great bit is where a Wall Street banker type is strung up with a sign on him, bloodied, chains around his wrists and ankles – he robbed someone’s pensions, put some people in the poorhouse. You can see how so many would eventually start using The Purge to exact their brand of social justice, whatever flavour it might come in.
It’s funny – I see some complains about how Sarge was being prompted to reveal more about himself. What’s the problem there? Even while these people are willing to follow the man because he obviously can handle himself, don’t you think you’d want to know why this guy was out on the night of The Purge? I would. Might not keep pressing too much, yet still, he could’ve been leading them anywhere. I think it’s only natural someone would push to try and figure out who the hell this guy is, or was – because clearly he’s a changed man from who he’d been.
Plus, I mean… character development? I’m not saying The Purge: Anarchy is a perfect film, by any definition of the term. I just think people want to give it too hard of a time when it’s got a lot to offer.I love what this sequel brings to the table; it ups the ante, it makes things more wide and completes The Purge universe where the New Founding Fathers have taken control of society, wiping out the poor essentially. There are some not-so-great things here – usually I’m a fan of Michael K. Williams, but I don’t like this role. I thought the film could’ve done without that part. Perhaps it could’ve waited for the third film, round out a trilogy with a story centred on groups trying to eliminate The Purge and the totalitarian regime headed by the New Founding Fathers. Here, this was a plot that sort of gets lost in the mix. Good stuff, just didn’t work fully here.
There are great scenes here, some of action, some of horror with viciousness and that thriller element. Fits in with some good modern horror movies. I can’t say everything works the way it should, but I feel there’s enough here to make The Purge: Anarchy a worthy sequel to a nice little surprisingly fun film. Judge on your own. I do think there are social issues this movie explores, along with its predecessor. People will continue to pass these off as silly movies, though, they are much more than that. Even better, they’re fun, they’re entertainment, and if you let yourself you can enjoy them a good deal.
Insidious: Chapter 2. 2013. Directed by James Wan. Screenplay by Leigh Whannell.
Starring Patrick Wilson, Rose Byrne, Ty Simpkins, Lin Shaye, Barbara Hershey, Steve Coulter, Leigh Whannell, Angus Sampson, and Tom Fitzpatrick. Blumhouse Productions.
Rated 14A. 106 minutes.
Being a fan of the first film, I was excited to see what James Wan and Leigh Whannell had in store for us. I really think they make a good team. Maybe not a perfect team, but it’d be hard for me to say that there ever was a perfect writer-director team. Every combination, every artist as individual has their faults.
Regardless, Wan and Whannell obviously have very similar sensibilities. I find they know what horror is, or should be, and though there are flaws this series has a lot of the great classic style horror I grew so fond of as a teenager.
What made the first Insidious so interesting for me was that Wan created this incredible atmosphere throughout, which kept on from beginning to end. There were a couple too many jump-scare moments, but not so much it ruined the film.
Personally, I think that Insidious: Chapter 2 capitalizes on its faults from the first and turns those into something even better. From atmosphere, to performances (Patrick Wilson is fantastic here), to a bit better of a script from Whannell, I believe this sequel was able to step it up a notch not only in creepiness, in quality, as well.
Beginning directly after the events of the first, Insidious: Chapter 2 starts as Renai Lambert (Rose Byrne) is being questioned concerning the supernatural activity that supposedly happened in the house, which lead to the death of Elise Rainier (Lin Shaye). The police have to investigate, so Renai and her husband Josh (Patrick Wilson) must take their kids to his mother Lorraine’s (Barbara Hershey) house.
Unfortunately, the ghostly presence continues to haunt Renai – a woman in white appears and terrorizes her. At the same time, Josh is acting strangely; Renai can’t look at him the same, their son Dalton (Ty Simpkins) hears his dad talking to someone while he appears to be alone. Even Lorraine starts to see the woman in white. Josh continues his weird behaviour, beginning to almost physically deteriorate.
Soon, Lorraine goes back to Specs (Leigh Whannell) and Tucker (Angus Sampson) to try and figure out once and for all what can be done to help the Lamberts get away from the evil presence plaguing Josh. And what follows proves to be even more difficult than bringing Dalton back from The Further.
So I’ll begin with the very few things I thought were lacking/did not work in the film.
That “Hunter Ninja Bear” moment is an instance of the dumb comedy between the two ghost hunting characters Specs (Whannell) and Tucker (Sampson) that I thought hindered the first film. Luckily, this one went for much less of that comedy; there are still faint hints of it at times, but it’s less prevalent than in the first. This helps. However, it’s moments like these that make me roll my eyes. Some may find it funny, I find it tedious. Especially in a film that culls together such an pervading and perpetual atmosphere of dread/creepiness, I feel like this comedy is so far out of place that it’s not even sensible.
I get that some horror is infused with comedy, often very dark comedy, this is just not one of those movies, and I think Leigh Whannell basically jammed these bits in like puzzle pieces that don’t fit; it shows how awkward these scenes are when you look at the movie as a whole. In the moment they’re sort of laugh to yourself funny (for others – not me), but when you turn around you think, “Why were these bits of comedy stuck in here?” Just makes little sense to me. I guess that’s why I’m not a famous Hollywood writer/director.
I have long thought Patrick Wilson is a fantastically talented fella. He has that handsome leading man type thing going on, and at the same time he has this weird side to him. The two performances which woke me up to his rising talent: his role as creep photographer Jeff Kohlver opposite Ellen Page in Hard Candy, and the wonderfully pained/tender character Brad Adamson he portrayed in Little Children.
So I think, even more so than the first movie, Wilson does a phenomenal job here. To see him wither away in front of our eyes, in front of his family, is really unsettling at times. Especially once the dark force inside him starts to actual take him apart physically – a nasty, effective scene happens when Josh Lambert starts to pull teeth out of his own face, literally falling to pieces. Not only did the make-up work well in making him look caved/sunken in, Wilson did well at showing Josh fray around the edges; you could see his personality change as the Bride in Black took him over. Great, great stuff.
I thought Lindsay Seim was awesome as the young Elise. Naturally, they used Lin Shaye’s voice and dubbed it over, but Seim still had the feel of Elise in those brief flashback scenes. Excellent choice in casting.
Rose Byrne did a good job, but I also think Barbara Hershey deserves a shoutout. She is such a wonderful actress, with the small part of Josh’s mother she does get a bit of screen time. There were some nice moments with Hershey, as well as a few with her and Steve Coulter, who plays Elise’s old friend Carl.
Again, as was the case with the first film, I love how James Wan builds the atmosphere. There’s a very distinct feeling throughout the entire movie. Also, when people are in The Further, all the dead wandering around in the dark, there’s this other highly distinct feeling. Wan makes us feel that shift between the two worlds, which in turn makes it all the more immersive.
I really enjoy how Whannell chose to explore the Bride in Black character more, then we are revealed the utterly disturbed world of Parker Crane. Worst is Parker’s Mother (Danielle Bisutti) – terrifying! When Specs and Tucker, gang in tow, head to Parker’s old house and they make all those macabre discoveries, I thought that section worked so well. The whole backstory to Parker and his mother is just amazingly ghastly. I loved every second of it!
In particular, there’s a great scene with the young Lorraine (played by Jocelin Donahue from Ti West’s throwback masterpiece The House of The Devil) where she brings her then young son Josh to the hospital where she works. There, Parker Crane (Tom Fitzpatrick) grabs ahold of Josh, howling at him in a terrible voice, frightening the poor boy. MAN! What a scene. I thought it was perfect. There’s a little jump-scare, yet I still found it truly effective. Because you keep reeling moments afterwards. Excellent, well-executed horror.
Sticking to the horror and subtracting some of the outright comedy between Specs and Tucker, I really think Leigh Whannell wrote a great script. Of course, James Wan pulled off the directing near perfectly. However, I still think that there should have been no comedy, whatsoever. Insidious is truly terrifying stuff, I honestly feel that comedy is out of place in a film that has such a pitch-black atmosphere and tone. Mainly it’s the style of comedy – very dumb stuff, I found. If maybe it worked on a darker level, the comedy would have went well with the horror. It doesn’t, though. That being said, I can’t knock the script that much. It fleshes out the characters Whannell introduced with Insidious, explains some of the previously unexplained events of the first film, and there’s the backstory of the Bride in Black, serial killer Parker Crane, which I found perfectly chilling.
This is a slight head above the first, so I’m giving it a 4.5 out of 5 stars. It’s near a perfect horror, for me anyways. I’ve seen it now probably 5-6 times since it first came out. I’d not seen the first in theatre, because I’m not actually a fan of being in the theatre (a cinephile with high anxiety isn’t good at times – I force myself to go for the stuff I really want to see), but I did go see this on the big screen. Good times, I must say. Everything here works, almost to perfection, from atmosphere and tone, to performances, developed characters, and the sound design is much better than the first (not so many purposefully jumpy string additions).
If you’ve not seen it, go watch NOW, and I hope you get the shit frightened out of you.
The Human Centipede II: Full Sequence. 2011. Directed and Written by Tom Six.
Starring Laurence R. Harvey, Ashlynn Yennie, Maddi Black, Kandace Caine, Dominic Borrelli, Lucas Hansen, Lee Nicholas Harris, Dan Burman, Daniel Jude Gennis, Georgia Goodrick, and Emma Lock. Six Entertainment Company.
Unrated. 91 minutes.
I’d always known from the subtitle of First Sequence in the first film, Tom Six would continue on to do more work on sequels. I think that was always his plan because it seems that subtitle intended right away there would be further films in the series.
That being said, I’m not particular thrilled that Tom Six decided to keep going. While I do find the premise of The Human Centipede II: Full Sequence, I think Six would do far better moving onto something else and putting his unique touch on another film. That’s his choice, however, and I’ve got nothing to do with it.
It only frustrates me because the first movie was a decent horror, and the beginning of this movie sets up an interesting premise, yet Six squanders the potential.
There’s a bit of a deeper idea behind this sequel. Certainly it’s meta, beyond the concept of meta, which is actually something I love. Though it’s only a bit of shock horror, much unlike the method Six went for in the first film, I feel like Six has a bit of a message here. It’s still just blood and gore and depravity, but the main character sort of speaks to the obsession people have with horror. I don’t know if, ultimately, Six is mocking people who think horror/disturbing films have an overall negative effect on people, or if he’s saying there are some twisted fucks out there who might be sitting at home or at their dead-end jobs plotting to use horror movie scripts as their own M.O. Not sure, but regardless, I think beyond all the cheap horror Six brings for this lacklustre sequel, there is some kind of commentary on horror movies, and how we as viewers interact with that horror as either detractors or fans.
Meet Martin (Laurence R. Harvey) – he’s a loner, mentally ravaged by his parents, living with his mother in a terrible sort of flat on a dreary housing complex. He is a nightshift security guard in a below ground parking lot. There, he watches The Human Centipede: First Sequence, fantasizing about applying the fictional Dr. Heiter’s methods to real life and making himself a real Human Centipede. At home, he is plagued by his mother’s hatred, tough guy neighbours who want to play their music however loud they feel, and a creepy doctor who seems to take an affection to Martin, though, the wrong kind.
Slowly, Martin begins to collect victims so that he might eventually create the fabled Human Centipede. It isn’t only a will to kill and hurt. Martin is beyond turned on by the prospect of connecting all his victims, mouth to anus, anus to mouth. He is a vile, wretched human being.
Thus begins the vicious and menacing sequel which is: The Human Centipede II: Full Sequence.
Before I let loose on what I don’t like about this sequel, I’ll start with the few portions I actually really do enjoy about Full Sequence.
There’s something about the choice to film this in black-and-white that interests me. Not sure what Six was attempting to accomplish. Perhaps it’s because of how hardcore the gore and sick imagery is in the film, Six decided to go with black-and-white to try and counteract how vicious things look; if it were colour, I can only begin to fathom how brutal it might end up being. Black-and-white can really give off a natural feeling when used appropriately. I think Six does well with this concept, though, it does not help to really tone things down in the end because there’s just so much rottenness happening. Taking the colour out so that the blood and guts and nasty bits don’t look as vibrant and in your face, for this film, does nothing to lessen the blow. Maybe that’s not why Six chose to do this black-and-white, maybe he just imagined it would look a bit artsy and give the film some credibility. I don’t know.
I do think that at times this really works. The scenes at home with Martin and his mother, all those bits, they were spectacular as black-and-white. Honestly, if the depravity level weren’t skyrocketing into the outer atmosphere near Mars, this movie would have done well with the black-and-white scheme. I don’t think it hurts the horror, it does not detract. I just feel as if the horror here is for horror’s sake. I know that the story itself dictates how much blood and gore will come out – it’s all based around Martin’s obsession and sick lust over the original film. But still, I loved the first Human Centipede because, though highly disturbing subject matter, it felt like it was more restrained than I’d expected, and Six really put together a decent horrifying film.
The black-and-white idea is really something when it comes to a lot of scenes. Even that savage moment where Martin kills his mother, drags her to the table, then has a little bit to eat before egging on the musclehead upstairs and subduing him to add to his Centipede; I found this a chilling bit of horror. Honestly, if Martin hadn’t succeeded to even put together the Centipede, this might’ve worked. Then I guess that would defeat the purpose, there has got to be a form of the Centipede somewhere throughout the film. The end result doesn’t spoil the good black-and-white scenes, but I wish Six could’ve done something better with it all.
My big problems with The Human Centipede II: Full Sequence have to do with the excess of gratuitous EVERYTHING. Not only does Six go for more disgusting sequences of nasty gore, he pulls in a lot of sexuality. Now, I’ve just finished with reviewing the Wrong Turn series (I, II, III, IV, V, VI), and part of my problem especially with the later entries was that there was a lot of sex and nudity brought in to either fill time, or from some perceived notion that there needed to be some sex in order to be true to “horror roots” (which is nonsense; I won’t go any further on that). Six does exactly this with his sequel. While Martin (Laurence Harvey) could have been just as sick and maniacal without so much of the sexual aspects being played up, and graphically most of the time onscreen, Six still opts to pile it on when it comes to the sex, as well as nudity.
The whole aspect of Martin obviously being abused by his father is fine. That’s understandable, especially dealing with a psychopath like Martin; he’s bound to have a history of sexual abuse, or any abuse. But Six lays it on way too hard. There’s enough outright and graphic imagery here without having to full-on show us every last single little thing.
C’mon, Tom! You can leave bits to the imagination while still having your nasty fun.
Basically, I think it comes down to Six’s lack of worry as a screenwriter. I hate to say that, and it’s not to say he can’t write, but I just feel like too much of this sequel (as opposed to the first film) relies on shock horror and the “torture porn” aspect of his story instead of going for real tension and suspense. The first had some excellent moments of tension that worked, but here that’s almost non-existent. Six has the ability to write, it’s just as if he doesn’t want to at times.
This is one of those horror movies that goes way over-the-top with its excessive blood, gore, and overall nastiness. I know that’s probably exactly what Tom Six set out to accomplish, and perhaps that’s the total of his expectations for the film. Unfortunately, for me anyways, I really did think that the first Human Centipede was a good horror – for all its flaws, it was effective and it didn’t need to go far over the line. It gave enough to get enough of the reaction needed. Here, Six surpassed was is needed to effectively communicate the disturbed world of Martin, the loner security guard and Dr. Josef Heiter obsessive fan. I think the combination of all the ridiculous gore while Martin creates his Centipede and the depraved sexuality that’s going on at certain points (worst case: Martin humps on one of his victims collected for the Centipede and it is horrifyingly sickening) really made things too much to even enjoy. For the people who love shock horror, and dare I say it “torture porn” (again I fucking hate that label), I guess it’s really enjoyable.
But to me, this goes beyond shock horror, or whatever you want to call it. Martin shits himself, he farts and he makes disgusting noises, and at certain times during the film I was saying aloud, “Are you fucking kidding me?” Once again – maybe that’s the point Mr. Six is trying to get at, maybe that’s what he wants from me as a member of his audience. I just don’t find it to be good horror, nor is it enjoyable on any level when things get to the point of ridiculously staged debauchery and murder.
Don’t even get me started on the fact that, without all the proper medical equipment and knowledge, I don’t see how a guy like Martin, dumb and fucked up in the head as he is, could ever manage to successfully staple and tape together a Human Centipede. Not even touching the fact he had what, twelve people, ten? I mean, that’s just brutal.
I can only give Full Sequence a half of one star. Honestly, I really did dig a lot of what Tom Six did in the first film, but this one is just an absolute mess – as we say here in Newfoundland, Canada, it’s a real fuckin’ state. What a brutal movie – and in no way do I mean that as complimentary. I thought a lot of the black-and-white was great when it involved the scenes at Martin’s flat, with his mother, et cetera. Even a few of the moments with him in the parking garage complex, before his big creation began, I found fairly well done and the black-and-white helped its creepy atmosphere. However, that does not keep up long.
In the end, there’s too much gross-out horror at work. The shock horror, the “torture porn” is all too evident. Some might say, “What did you expect?”. Well, frankly, I expected Six to follow up his decent start of the series with something near equal to what he’d done. What he did was try only to gross us out – nothing more. Maybe that’s fine for some, but even with the gory horror (think more modern like Martyrs – tons of gore and a great story) I often like to have at least some semblance of well-intentioned writing and coherence. Here, Six cops out, and instead of writing something that could’ve worked terrorizing wonders on his captive audience, all we get is the full toilet humour most jokes about The Human Centipede films cover. There’s no attempt at creating genuine horror. Here you’ll only find the disgusting, the nasty, and the wretchedly vile.
BEWARE: in the last fifteen minutes there is some truly atrocious stuff happening – I’m not one to get disgusted, I have seen so many rotten and over-the-top disgusting horror flicks, but this one really took my stomach for a whirl. It’s not that which ultimately bothers me, it’s the fact this stuff has no real purpose other than shock. In the first film, there was at least an attempt on Six’s part to come up with something that was uniquely terrifying, this is just nothing but cheap gross-out horror and failed attempts at (crazily) dark humour.
P.S. Why does that mother step on her baby? Did I miss something? I get it – she wanted to get away. But would a new mother who’d just traumatically popped out her child really just go ahead and step on the gas pedal, crushing her infant child? Is that actually plausible? She couldn’t pick the thing up, toss it in the passenger seat with the umbilical cord and drive away?
Come on, Tom – you can do better. Or I don’t know, maybe the “What did you expect?” crowd is right – maybe I should expect nothing more than perversity and needless gross-out horror from you. I’m about to watch the third instalment, who knows what it holds in store for me!
The Human Centipede: First Sequence. 2009. Directed and Written by Tom Six.
Starring Dieter Laser, Ashley C. Williams, Ashlynn Yennie, Akihiro Kitamura, Andreas Leupold, Peter Blankenstein, and Bernd Kostrau. Six Entertainment.
Rated R. 92 minutes.
To start, I’m a huge horror fan. Maybe a horror buff, if that’s your bag. I don’t know. I just love the genre, and many of its own sub-genres, as well. I’m no stranger to the really gory stuff, whether it be a slasher movie or something else. Most of my favourite horror happens to be the classic stuff – Don’t Look Now, Psycho, and A Bay of Blood. Those are just a few of my top favourite, there are plenty others aside.
So when I first heard about The Human Centipede: First Sequence, I thought it was a disturbing premise from the sounds of the brief synopsis available. Then once the first trailer came out, I knew it was something I’d at least have to see simply for the sake of being a horror completist. I’m not a fan of gratuitously gory horror when it only happens just to have blood and guts in a movie. Though, I do like a good gorefest if there’s some reason and logic behind things.
With The Human Centipede: First Sequence, there isn’t even much gore at all. A bit of blood, nothing serious. So I can’t even try to act like this movie is a big ton of gore thrown in our faces just to have a bit of fun. I genuinely believe writer/director Tom Six does something different and fun (in horror terms – this is by no means a fun watch), especially when you consider how much generic junk horror is flooding the market these days. It’s not like Six’s script is turning the horror genre over on its head. But I don’t think that this film necessarily needs to be lumped in as a bit of “torture porn” (a term I fucking hate and think is stupid) or shock horror. It’s more than that. The shock is there, however, Six allows our own mind to work most of the disgusting and disturbing tricks out. Instead of going all out, Six gives us enough nasty visuals (and they are there – not trying to say they aren’t!) to really work up our inner gross-out, but doesn’t go beyond what some other horrors do simply for a shock effect. Most people can’t get past their own disgust with the idea of the Human Centipede as a concept itself to even treat the rest of the film as a decent horror, in my opinion.
The Human Centipede: First Sequence begins with two American friends, Lindsay (Ashley C. Williams) and Jenny (Ashlynn Yennie) who are traveling in Germany. They head out in a car and get stranded along a stretch of road. Walking to try and find help, they stumble across a quaint little house in the country. There, they meet Dr. Josef Heiter (Dieter Laser), former Nazi doctor, who graciously accepts them into his home. The doctor claims to have called a car service, saying they will be there within a half an hour. Soon the girls drop unconscious from the drugs Heiter spiked their drinks with, and he injects them with more from a needle.
When Lindsay and Jenny wake up, they are on medical gurneys and cuffed, unable to move. Another man is present, a truck driver, but Heiter kills him because he’s “not a match“. The doctor finds a new victim, Katsuro (Akihiro Kitamura). Eventually, he tells the three captives he plans on making them into a Human Centipede: he will connect them surgically mouth to anus.
After this, the horrific events which follow scar everyone, very literally, as well as psychologically, and nobody walks away unscathed.
While Six doesn’t do anything super innovative during the setup to all the chaos and mayhem which follows, at the same time he does not seem to fall into anything too derivative. The initial situation is one we’ve seen so many times before: young people have car trouble, get stranded, get abducted and swept off to a house of horrors. Here, the girls wander out from the road to a nearby house after car troubles; there, they meet Dr. Heiter (Dieter Laser). Nothing unfamiliar really. But it’s when the actual plot kicks in that Six avoids being like everything else.
Most of the deterrents concerning The Human Centipede series as a whole is the fundamental and inherent repugnancy of the whole gimmick: (most) people just don’t want to see characters with their mouth sewn onto someone else’s asshole. That’s the bottom line. For all the depraved and twisted and horrific film that’s already in existence out there (I love good gory and fucked up horror but as an example of the terrible stuff I’m going to say… August Underground. Hate that stuff!), the idea behind The Human Centipede movies, that basic concept, is too disgusting for even some big horror fanatics. And you can’t say “You’re a pussy” if someone doesn’t want to see something that’s, not surprisingly, absolutely wretched.
The Human Centipede: First Sequence has become one of those films which truly sets the bar on horror. I don’t mean it’s the most disturbing thing out there. Personally, many Takashi Miike films are what disturb me the most (just a couple are Audition, Visitor Q, his segment “Box” from Three Extremes, & his short contribution to Masters of Horror called “Imprint”).
What I mean to say is that Six has given us a film that has somehow almost become mainstream – an idea so strange has attracted even jokes from late night hosts – and yet it divides horror fans. Some might think it’s just shit horror; pardon the pun-iness. However, I feel like it challenges peoples limits. So many horror fans are fine with the random hack n’ slash of Michael and Jason – I’m certainly one. Then on the other hand, they seem to say this stuff is gross, it’s just for shock value. Maybe the other two films in the trilogy are, but I don’t think this one is, at all. I think this is an awesome part of the sub-genre of Nazi horror films. Dr. Josef Heiter (Laser) is a crazed old member of the S.S (not sure if he says that specifically but he did the Heil Hitler enthusiastically back in the latter days of WWII) who experimented on siamese twins, no doubt others – just like dear ole Dr. Josef Mengele. As an extension of that sub-genre, I think it works ridiculously well. I don’t think the script is perfect – I do think the intentions and the horror Six brings are pretty damn good.
Yet for all the fanfare over how visually disturbing the film is or isn’t, I’m on the side that thinks Tom Six actually could’ve been a whole hell of a lot more fierce, honestly. Not saying he’s a slouch; no sir. Six has, with these films, cemented himself as one of the big game names of shock horror. What I’m saying is that, for all the rotten nastiness he gets up to in this movie, I truly believe Six restrained himself. What he does so well is that he uses the idea of the Human Centipede, gives us a few visuals, and lets our mind do most of the work.
Because let’s face it, as far as horror movie gore goes, I don’t think there’s anything ridiculously over-the-top or super disgusting. Honestly. Maybe that’s just because I’ve seen 1,000 horror movies, who knows. Like I said earlier, August Underground, all those (however many there are – 3 maybe?), they are just trash. There’s a premise all right, it’s just trash. Six goes for a bit of a trashy premise, he just doesn’t let the film itself become pure trash.
There are genuine moments of suspense. When Lindsay first escapes, there is a point you wonder how far she’ll get, but soon it becomes clear Dr. Heiter has the place virtually locked down. I truly felt terror for her, especially when Heiter would taunt her: “You will be the middle piece!” Those bits were truly horrific. I always try and put myself in the place of the characters, right in their shoes; works best for horror, in that sense. While watching these characters, Lindsay specifically, I found my own stomach lurching with anxiety over the thought of being sewn mouth to ass, ass to mouth with two other unwilling victims (like anybody would ever be willing to get this as cosmetic surgery). When Dr. Heiter shoots Lindsay with the dart as she tries to drag Jenny away from the house, I felt downright awful for the girls; then he just steps on her face with this look in his eyes, looking over at the Three Dog grave. Chilling.
It’s once Dr. Heiter starts to prepare and then gets the Centipede in motion that terror really set into me, personally. First, we see him marking away in blue felt tip over the skin of his victims, as if he were a plastic surgeon. Of course, then he starts to remove teeth, and things get sloppy.
When he has them in the yard and he’s trying to get them to be able to “walk”, or crawl, I guess… that whole scene is absolute torture for me psychologically. It’s darkly comic because Heiter is just SO GOD DAMN INSANE, but at the same time I can’t help watching it and being completely gripped with horror.
Even just little moments, like the brief shots/montage of the victims on a surgical table, Dr. Heiter making various creepy faces, then we cut to him in a nice suit and tie, watching as two men put in a new piece of glass in the window he’d previously broken (while chasing Lindsay down). I just imagine how these men have no idea what this crazy fuck has been up to/is still up to, and they’re going about their day, replacing windows, la-tee-dah. Creepshow. Then he surveys his new Centipede as they come to briefly, drugged up and dozy. It is just spectacularly wretched.
I think that’s one of my favourite moments of the whole film – as Dr. Heiter gets the Centipede to “stand up”, it is scary. I mean, it’s really creepy. The way he yells “I DID IT!“, fists clenched in front of him. Then he parades the mirror in front of them, each of the three victims weeping while Dr. Heiter weeps with them; except he does so in joy. God damn. A full-on horrorshow.
Most of what’s wrong about The Human Centipede: First Sequence does have to do with Six’s script. It isn’t a terrible piece of writing, not by a long shot. Certainly not when you look at how many small, independent horror films are out there which truly have terribly written scripts. All the same, there are a few moments in the film where I can’t deny the writing is a bit poor, or more so that it’s not thought out properly.
One example being the part where the two detectives, Kranz (Andreas Leupold) and Voller (Peter Blankenstein), show up at Dr. Heiter’s place. Now, I understand Heiter was able to deflect their sudden questions when he drops the dish towel and it has a syringe inside. I just don’t think it was sensible. I mean, the police were already suspicious obviously, they were at his house. Why would he be creeping around with a dish towel hiding his syringe? If he were diabetic, he’d have no problem whipping out the insulin and shooting up; most diabetics don’t take issue with that, especially if they’re in their own home. I feel like Six grasped at straws here and it was just a cop-out. He could’ve found a better way to go about that piece of the plot, and he went the lazy route. That was one moment I felt came off badly and it affected the rest of the plot. They do show up again, the detectives, I just don’t believe any detective in their right mind would have left that place considering the situation. Alas, such is the case. Doesn’t blow the movie, but it doesn’t help an already mediocre script.
I think that I can easily say The Human Centipede: First Sequence is actually a 3.5 out of 5 star horror film.
Plenty will disagree and try to pass it off as “torture porn”, shock horror, whatever. But it is not just a film relegated to the realm of gore for the sake of shock value, or anything near that. Because while there is definitely a good deal of gross imagery, a bit of blood, there are so many other, lesser horrors out there which go far beyond what Tom Six did here in terms of visuals. He could’ve easily made this into a Dead Alive-level gorefest, but instead there is at least some restraint on his part; not in premise, in execution.
What impresses me most is the horror itself, the blood and the effects. The Human Centipede itself is a good show of make-up effects. The close-up shots (like the one above) on the three links of the Centipede are something else; really disturbing and gruesome. Yet, as I said, there’s nothing that goes far beyond what other horrors are doing. It’s merely the fact of the premise: people are totally repulsed by it.
Give it a go if you haven’t, and maybe you’ll see it how I do, or maybe you will be far too disgusted by it to even care about having an opinion. Either way, I think Six hits the mark. Though I’m not a fan of the sequel, I’m watching these all back-to-back right now, and I’ve yet to see the third – so, onward and upward!
P.S the last shots of this movie are beyond terrifying to me and they really put the nail in the coffin; great disturbing stuff.
V/H/S 2. 2013. Directors: Simon Barrett, Adam Wingard, Eduardo Sánchez, Gregg Hale, Timo Tjahjanto, Gareth Huw Evans, and Jason Eisener. Magnet Releasing.
Rated 18A. 96 minutes.
★★ (Blu ray release)
The wraparound story for the first V/H/S held things together well enough. While it was at best a decently played out section of the film, what really sold me on it overall were the individual segments (minus one), which I thought were really creepy and the first was fairly innovative in terms of their use of found footage. This time around in V/H/S/2, the wraparound segment called “Tape 49” (directed by usual writer Simon Barrett) is much better than that in the first installment of the series, and by the same token I didn’t really like as many of the shorts this time around. While I still love this series, I do think V/H/S/2 is essentially the weak link of what is so far a trilogy; I’m a big fan of third regardless of what others think – I think it’s the most unique and definitely the most far reaching in terms of concepts, particularly the segments by Gregg Bishop and Nacho Vigalondo. That is for another review.
I’m a big fan of Adam Wingard, and I honestly love almost every single bit of his work, however, I really can’t get hugely into his segment here, “Phase I Clinical Trials”.
Quick synopsis: Wingard plays a man who has a bionic eye implanted by a company that will monitor his every move and record whatever he does – it isn’t long until he discovers the eye helps him see just a little too well, and a little too much.
It is not badly done whatsoever – let me start by saying this – I have no problem with the visuals or aesthetics in general. What I’m not a fan of is the execution in terms of how it was written. I find usually Barrett, who wrote this segment along with the one he directed, subverts some of the norms I come to expect from horror. Here, in “Phase I”, Barrett really plays into some foolishness. Like when the girl just suddenly decides the best way to ignore all the weird, undead-like stuff going on around her and Wingard is to take off their clothes and start having sex. I mean – come on. I am a big fan of both Barrett and Wingard, and I usually never find myself saying these things about their work together, but here it is just unbearably bad. I really thought this was some tired writing. The direction worked well, as well as benefitting from Wingard acting in the short, in terms of the filming techniques used (he talks about this in one of the featurettes on the Blu ray – Wingard wanted to have an actual actor play the part but because of the fact he was shooting the segment in the first person perspective he felt it easier to take on the role himself). Other than the fact Wingard directs well, this segment isn’t really much fun – a few cool effects don’t make a decent short horror. I like its finale; there are some creepy ghosts and all that. The build up, on the other hand, doesn’t really do anything for me.
Eduardo Sánchez is another filmmaker whose work I really enjoy. He does really well in the found footage sub-genre, and thrives. His segment is a zombie-filled romp through some woods called “A Ride in the Park”, which sees a mountain biker zipping through forest recording on his GoPro – he comes across a wounded woman, gets bitten, and then slowly becomes a zombie. From there, we follow him and his GoPro as he wanders with a herd of zombies through the trees, terrorizing others, including a little girl’s birthday party.
Not only do I like the innovative use of found footage here with the GoPro camera on the biker, I really thought it was interesting to follow the perspective of a person who gets bitten by a zombie and becomes one himself. The GoPro really helps add to things by giving us a very up close and personal view of this perspective. Sánchez explores ideas about what happens to us after the zombie virus takes hold – do our feelings still linger? Can we retain any sort of control?
One really great, and heartbreaking, moment comes when the man-turned-zombie hears his phone making noise. After fumbling it from a pocket and realizing he accidentally dialed his girlfriend, a single pathetic-sounding groan comes from him, and it’s the stuff of good drama really. Thoroughly enjoyed this segment. It was good in all these senses while also being downright fun zombie madness – after the zombies infiltrate the birthday party it is just awesome.
Gareth Evans and Timo Tjahjanto teamed up to create a really horrifying and adrenaline injected segment named “Safe Haven”. This short takes a young documentary film crew inside the complex of a cult run by a man known as Father. They want to give an inside scoop into the cult with untampered footage, giving the leader a chance to present his group, unbiased, to the outside world. Father allows them unprecedented access into the complex. Soon after, the crew begins to realize something is amiss. I won’t say any more. Go in knowing only this, or less.
I love how the pacing really keeps up in this segment. Things kick in with crazy gore, horror, and downright terror. I enjoyed every second of this one. The effects are outrageous, in the best way possible, and even the performances, specifically that of Epy Kusnandar as the previously mentioned Father – he is maniacal, a little funny at times, and absolutely scary as hell. This is by far the best segment of the first two V/H/S films because it scares the life out of me, but it also remembers to stay fun, and doesn’t take itself seriously the whole time. The final moments of “Safe Haven” are brilliant, hilarious, and terrifying all wrapped into one.
I enjoy Jason Eisener, especially after I’d seen Hobo With A Shotgun, but his segment “Slumber Party Alien Abduction” isn’t his greatest work to date. Not that I didn’t enjoy it – it was a lot of fun. The story is basically about a bunch of kids, with the parents gone away, who are then laid siege upon by a UFO and some aliens. Pretty good little plot for a short.
I just thought there was a bit too much epilepsy-inducing light flashing. The effect worked in certain places. Others, it was highly annoying. It really did help several shots look more effective, particularly when one of the kids goes up into an attic, and there ends up being a number of alien-creatures already there, some coming up behind, and I thought it definitely enhanced things. On the whole, though, there was too much of it. I just wanted the segment to end after things kicked into high gear. The adrenaline was pumping, there is no doubt, however, I don’t think it pumped correctly because there was too much flashy nonsense.
Eisener should have focused more on the horror itself and the terror rather than trying to forcibly slip us into being terrified by flashing lights and noises; I, personally, was creeped out as it was with the aliens, I didn’t need some of the nauseating effects that came along with it to be scared. Really disappointed in this section ultimately, but I did love the initial setup, as well as some of the kids’ dialogue.
Part of the reason I really did enjoy V/H/S/2 is, as I mentioned earlier, the wraparound segment. Barrett’s “Tape 49” follows two private investigators who are looking for a missing student, and after they manage to get into his seemingly deserted house they come across a bunch of strange VHS tapes. Once they watch the tapes, their night gets even worse.
I thought this angle for the story that sort of encompasses the film, explaining the tapes themselves, worked very well, and it was also directed well by Barrett. I just thought it worked even better than the simple premise of the first film’s wraparound segment. It was more intriguing.
I think one of the things V/H/S/2 really does have going for it, adding something new to the second installment of this series, is that the whole film is really fun. It’s absolutely an exciting and entertaining ride. Though I didn’t really click with Eisener or Wingard’s shorts, they were still enjoyable even if I had some problems with them myself. “A Ride in the Park” and “Safe Haven” really hit the mark the best I could have possibly imagined (I expected good things from both Evans and Sanchez because I was huge fans of theirs previous to this movie), and they keep the energy of the entire film at a really high level.
If you enjoyed the first V/H/S then you will most likely enjoy V/H/S/2 because, for all its faults, the film tries its best at all times to be entertaining, innovative, and above all else scary, as well as disturbing. You can do worse than this movie – certainly, I wouldn’t own it on Blu ray if I didn’t think it was worth watching.
That being said, the Blu ray release is not really the greatest. While the picture and sound are incredible, there is little else to be excited about other than a 3-minute featurette on each of the segments; one includes a ridiculously pointless video of Sanchez and crew tipping over a dead and rotting tree, which ends in slight injury. I only enjoyed the featurette for, surprisingly enough a segment I wasn’t big on, “Phase I Clinical Trials” – I really like Wingard a lot, and just hearing him talk a little about the filming process, et cetera, it was nice. Though, it was still only 3 or 4 minutes. Neither of these features are longer than 5 minutes tops. Disappointing, especially considering this is a film highly based around the visuals. They could have done better.
Check out the Blu ray, but don’t expect a ton of great extras to keep you entertained. You’ll be getting the film and not much in the way of added toppings. The movie is pretty good. The Blu ray? You’re better off waiting for them to put out all the V/H/S movies as a set. Maybe then they’ll get some more, and better, footage to include for the fans. Until then, this a mediocre at best Blu ray release.
Fritt Vilt III (English title: Cold Prey 3). 2010. Dir. Mikkel Braenne Sandemose. Screenplay by Peder Fuglerud & Lars Gudmestad; story by Martin Sundland.
Starring Ida Marie Bakkerud, Kim S. Falck-Jørgensen, Pål Stokka, Arthur Berning, Sturla Rui, Terje Ranes, and Nils Johnson. T2 Entertainment.
Not Rated. 95 minutes.
I’m in the the tiny little column of people who loved all three of these Fritt Vilt films. One of the best slasher trilogies out there, and it’s certainly one of the best slashers in modern horror. While a lot of horror fans seem to have dismissed these movies, I champion them. If you’ve yet to read my reviews, here are Fritt Vilt and Fritt Vilt II – and certainly if you haven’t watched those yet don’t go into this one. I’m sure most people sensibly would watch the trilogy in order, but just in case, turn back, and make sure you get a look at the lead up. Though this is a prequel film, Fritt Vilt III does rely on some of our knowledge of what came before cinematically in order for us to fully realize the chronology. Even further, it cements these three movies as a really great series with a memorable killer at the center.
This movie opens in 1976 at the mountain hotel where the original Fritt Vilt was set – we get slightly expository scenes filling in the killer’s background. His mother Sigrid and stepfather Gunnar claim he went missing, which takes us back to the very first film. It’s clear now that when we originally saw the boy running through the snow in Fritt Vilt, he may have been running from someone close to him. Gunnar does not like his wife’s son. He keeps the boy locked away in the basement. Sigrid tries her best to let the boy stay upstairs, claiming he barely gets any sunlight, but Gunnar thinks he is a freak (remember the boy’s significant birthmark across his face – of course that’s no reason to treat anyone, let alone a child, terribly like this..) and wants him kept hidden. Afterwards, we see Gunnar treating the boy worse than a dog. It’s obvious the boy was either trying to run away from home, or Gunnar might’ve been trying to kill him – we never get a full answer, which is better that way, but the strings are there to lead us on. Then, one night after a few days of the boy being missing, he returns to see his mother. The boy proceeds to kill her, as well as Gunnar. He disappears into thin air, it seems, and nobody sees any of them again.
We also see a subplot concerning a local Sheriff named Einar, involved in the investigation into the disappearance of Sigrid, Gunnar, and the boy. Einar goes to see his brother Jon, who is clearly an outcast and living in a cabin somewhere near the national park around Jotunheimen. There is some sort of rift between them. Einar comes to question Jon about whether or not he’s seen the boy from the hotel; apparently Jon’s cabin is one of the only places between the hotel and civilization. Jon declines to say much, leading his brother to believe he’s not seen the boy. However, once Einar leaves, Jon can be seen holding up a picture of the boy with his mother and stepfather; around the edges are bloody, smudged fingerprints.
Cut to 12 years later. 1988. A group of friends are heading into the national park near Jotunheimen in search of the area, which has apparently been taken off the map, where the hotel lies abandoned in the mountains. Einar is dropping the group off and returning the next afternoon to bring them back out from the park..
On the way, Einar runs across his brother Jon; they have an awkward, one-way conversation, and the sheriff warns his brother, who has a rifle in the back of his truck, there is no hunting within the national park. They head off on their way, and Einar drops the friends in the park. They set out and eventually find the hotel, but it’s filthy and worn down, so a few of the group would rather not stay, and instead opt to find somewhere better to camp. After this decision, they fall prey to the boy, now 12 years older and closer to being a man, who has been roaming the woods for over a decade and honing his dangerous, brutal skills.
One of the defining things about the entire trilogy is the brutality of the kills. It doesn’t stop at the first sequel – Fritt Vilt III really keeps up the pace in terms of savagery in the slasher’s kills. The very first death in the movie is really great because it sets up part of the themes throughout the whole thing.
For instance, the first death comes as a result of a situation that could easily be an accident anyone might come across in the deep woods where people hunt and poach, if they aren’t careful anyways. Two of the characters slip into a pitfall, most likely created by the sheriff’s brother Jon; one is skewered by a pointed stick in the pit, the other gets out to try and locate help. After she leaves, the other character is left to be found by the killer – as if the fall into the pit wasn’t bad enough, the killer then viciously finishes him off. From there, we see how the killer has grown, gotten very angry, and learned a lot about hunting – mostly just the killing part. This then leads to proof Jon has been helping and sheltering the killer. When the big slasher hauls his prey back to the cabin, Jon also finds the escaped girl and brings her back – he scolds the now grown boy saying these people are “humans… not animals”. It now becomes very clear the killer’s earlier abuse took the heaviest toll possible; his humanity, any empathy or sympathy possible inside him, was taken away from him completely. He can’t distinguish man from all the other animals, or worse, he was abused into believing/knowing man to be the most dangerous animal of all. So, just like Michael Myers’ famous head-tilt in Halloween (when he pins the one teenager up against the wall dead & stands back with his head tilted to the side just like a dog while admiring his work), this scene truly cements the Fritt Vilt killer as an animal of a man.
The kills follow a pattern in that they reflect the killer’s life out in the woods, fending for himself and trying to stay alive. Obviously Jon taught him to hunt in order to survive, eat, et cetera, but because of the boy’s awful home life in his very formative years this training and experience lead to his being a serial killer, and not just an avid, experienced hunter. Instead of all knife-slashings and the like, we’re treated to bow and arrows, rifles, and just downright savagery at times. It’s pretty incredible. We go into slashers looking for this sort of thing – don’t be surprised when you’ve found it.
Another thing I really love about this entry is the fact it takes most of the action from out of the shadowy corridors of the abandoned mountain hotel and the second entry’s dark hospital hallways, and it puts a lot of the scenes in a brighter, more visible landscape. This works well because the first kill itself [the pitfall scene] is shrouded in a lot of darkness. From this scene, things move outwards into the light. There’s something scarier about a slasher film when it can work in the light of day versus needing the shadows to make things tense. When a slasher has many scenes shot in the daytime, it subverts our normal image of the slasher movies we know best, and also catches us off guard – in a good way.
A couple great moments in this regards:
– I really like a few moments where we’re seeing shots of a character intercut with looks through the sight of his rifle. This provides some nice suspense; things become full of tension, as we literally look down the barrel of his gun. What makes these bits really scary is the killer lurks in the forest. Yet it’s completely light out. While the character is holding a gun, waiting for the moment to fire, we still believe the killer will get him – he doesn’t need to the darkness, he can hide in plain sight. It’s unsettling.
– My favourite scene is actually later in the film when Anders and Hedda are near a sort of cave, which sits next to a pool of water. Anders has been shot through the shoulder (when the bow and arrows make an appearance). They’re trying to rest, but the killer can be heard coming in the trees. Instead of running, Hedda hides. When the killer comes and circles Anders, just like an animal would its prey, Hedda comes out and stabs the killer – this doesn’t phase him and he keeps coming. Then Anders smashes his head with a rock. They leave the killer floating face down in the pool of water. This leads to one of my top creepy shots in the whole trilogy – the killer raises up from the water, his head down, his hood up and covering his face – he gasps hard for air making a terrible noise. It really is a great scene, which gives the characters a little win while also showing us just how much longevity the killer has, and how he is damn tough.
I also can’t forget to the mention the cinematography here is absolutely incredible. The locations here were very well chosen. There are some abnormally beautiful shots in the film, which is very atypical of a slasher (for the most part – there are definitely some great looking visuals in slashers out there). One of my favourite parts about this final installment in the trilogy.
I can’t help but give this third film in the series a 4 out of 5 rating. There were issues with pacing in the beginning, but about halfway through the movie’s running time things pick up, and it really starts to cook with gas going forward.
A lot of people say the prequel by nature has a tough time keeping suspense up in terms of us wondering who will live or die because we already know, going in, the killer clearly will be around for years and years – the first
Fritt Vilt is set probably almost two decades after the events of this film. So we know at the start the killer won’t be stopped. However, the movie gives us a lot of interesting insight into the killer. It helps us fill out the back story instead of leaving him as a masked and nameless slasher. This may work for a lot of movies out there – or maybe it doesn’t work, they just keep getting people to fund their useless sequels. On the other hand, Fritt Vilt creates a really excellent story, and the icing on the big cake that is that story comes with this third installment in the series. Giving us a fuller background on the killer makes the whole trilogy better, in my opinion. Not only that, Fritt Vilt III on its own really has a lot of great themes in it – man as animal, man as hunter, et cetera. The deaths are nasty, the plot is grim, and it really shows us how the killer of the series became what he was in the first Fritt Vilt. This was a great slasher and really did justice to the other films. Sadly, not many appear to agree. I couldn’t care less.
I love this, I watch it often, and I’m confident in putting the whole trilogy up as one of the best horror series’ out there while being at the top of my list when it comes to the greatest slasher trilogies ever made.
Check out the whole trilogy – have some fun!
Refn's sequel to his 1st PUSHER film is another bleak trip to Copenhagen's underworld.
The Raid 2: Berandal. 2014. Directed & Written by Gareth Evans.
Starring Iko Uwais, Arifin Putra, Yayan Ruhian, Oka Antara, Tio Pakusodewo, Alex Abbad, Julie Estelle, Ryuhei Matsuda, Kenichi Endo, and Kazuki Kitamura. Entertainment One Films Canada.
Rated 18A. 150 minutes.
★★★★★ (Blu ray release)
Even the trailer just absolutely melts my face off. I couldn’t wait for this movie to come out. And boy, was I ever not disappointed in the least. In fact, this is one of those few sequels where it surpasses its predecessor joining the ranks of The Godfather Part II, Star Trek II: The Wrath of Khan, Stars Wars V: The Empire Strikes Back, and The Dark Knight. This addition to what will hopefully be a trilogy is an incredible action film, and most certainly one of the best I’ve ever seen.
The plot of The Raid 2: Berandal begins only a few hours after the previous events of the first film. Now, Rama is forced to go undercover in a ruthless prison to protect his family, as well as infiltrate the criminal organization which stretches even into the police. He must become a mob enforce in order to break through and gain the information needed. This is easier said than done. Once again, Rama has to fight through criminal after criminal to succeed in his objective.
So get ready for an all-out brawl with so much balls you’ll feel the kicks and punches in your gut with every bone smashing scene.
One of the things I immediately loved about The Raid 2 is that it gives us another chance to engage the character of Rama. In the first film, Evans gave us a look at tough yet nervous rookie, who was navigating a world completely unfamiliar to him. Even more so this time around, Rama is in a dangerous and unpredictable environment. But this time, Rama is also more experienced.
Right off the bat we’re treated to amazing fight choreography just in the first 25 minutes or so. First, we get to see an enclosed space brawl where Rama fights off numerous prisoners, as they kick and punch their way to him. Then, later, Rama must fight for his very life, as a gigantic brawl begins in the prison yard. Arms and legs are broken. Heads are smashed in with fists, rocks, and whatever else these men can grasp their fingers around. Some inmates are kicked to death in the muddy yard by groups of other prisoners. It’s just an absolutely incredible scene. ‘m not sure how many actual edits are in there, but Evans makes it all look like one long, fierce take just following fight after fight, death after death. It’s one of those powerhouse sequences where it feels unbroken for a nice long time. You see a lot of these types of shots in other films, but action films it’s not exactly commonplace to see these extended takes because that takes a lot of work. Evans, however, pulls out several of these throughout the film.
A really amazing sequence, among many, is the crowded fight in the car. Watching how Evans actually accomplished that entire fight including some very unique and tricky camerawork, it’s just a breath of fresh air in the action world. Not only does Evans care about the fights themselves looking great and natural at the same time, he still pays close attention to the details of the actual camerawork for such fights. I know there are other stylized action films out there. Nevertheless, Evans and his two Raid films really takes the cake on visionary action-thriller filmmakers. Seeing the camera operators passing the camera around through the car, as well as discovering there’s one of them actually dressed as a seat (I never would have guessed that on my own – not in a million years), it is spectacular movie making. There aren’t enough minds like Evans, especially in the action genre.
Love the role of Uco played by Arifin Putra. He did a great job. It was good to see another strong role in The Raid series aside from the main role of Rama (Uwais). This guy did a nice job with a character who could be typical. In certain respects, he is, quite typical. Yet there’s a savage, brutish nature to the way Putra plays Uco I really enjoyed. I sort of felt bad for him in a way, even though he’s really just a spoiled little psychopath.
Regardless, Putra gave a good performance, which worked well opposite Iko Uwais, who was just as excellent (if not more) in this film as he was in the first. Uwais had more to work with here, as the treacherous waters Rama must wade through become deeper and darker, murkier than before. In particular, there’s a fight later in the film where Rama scalds a man’s face terribly (a man he discovers afterwards is a police officer like himself). Following the fight, Rama is absolutely devastated with what he has become in order to fight criminals – essentially, a criminal himself. Uwais does a terrific job with this role and I felt for his character, which we rightfully should. Then of course his fighting has only gotten better, it seems. Not long after the previous scenes, the aforementioned car fight goes down; it’s one of the more wildly choreographed and executed scenes in the entire movie.
Action films are always better served by good performances (stupid thing to say – any film is served well by a proper performance), so having both Putra and Uwais play their roles with skill only makes things better. When you get good action with fun, interesting characters it isn’t hard to enjoy. The Raid 2 really improved in a lot of ways from the first, as much as it could seeing as how that one was incredible. The main way in which this film is better comes down to the performances. Though there is plenty of action, even more than the first (or at least on a bigger scale than its predecessor), this sequel really gets into the performances more.
There are some really unique characters in here. One in particular sees Yayan Ruhian (who also apparently choreographed bits of this film – not sure exactly how much but that is excellent) back in action; here, he plays a different character than his insane Mad Dog character from The Raid: Redemption.The character he played was weird, which is awesome. Not only that, he fights a bunch of dudes in the street, while holding a machete, and yet doesn’t actually use it on any of them – not until the final person he fights. This also includes a great blood effect that I cannot get enough of! Evans does a shot of a body sliding down a wall after being ran through with the machete’s blade, except it’s from the rear, and so we get a nice view of the bloody hole from his gut to his back, as it slides down the wall leaving only Ruhian visible through the hole in the wall. Maybe that sounds like a mouthful, but believe me – it is an awesome little, almost throwaway, practical effect. It looks really gnarly, and I totally dug it to the fullest.
Two other honourable mentions must be noted when it comes to characters: Hammer Girl (seen above in mid-kick assery) & her equally demented sibling Baseball Bat Man. Great additions to the film. Not only was it sort of fun and a kind of homage to less serious/more silly martial arts flicks, it really kicked up the madness of the entire Raid series another notch. In the first movie, we get that real crazy vibe from the machete gang. I was really wondering what Evans would do in this film; if there would be that sort of vibe I got from them. This is where Hammer Girl and Baseball Bat Man came in. Their fight with Rama was just absolutely intense. One of those great sequences where you’re actually not sure for a few moments here and there if the hero would come out on top. I like that, when a filmmaker isn’t afraid to tease us a little with the true fear of a character’s death. But of course Rama is the man; I mean, do you really doubt that? This fight is one of the more balls-to-the-wall sequences out of either of the Raid movies, and I couldn’t rewind enough to watch it over and over.
Not to take away too much from the final fight Rama endures – it is a dam fine fight both in the camerawork used and the fight choreography of the actual scene. I just particularly wanted to mention those characters. The last fight, regardless of how much I enjoyed Hammer Girl and Baseball Bat Man, was near perfection. Incredible, the score really amped things up with a sort of John Carpenter feel to it, and it was just really beautiful and brutal all at once. Plus it comes to a bloody conclusion.
Also, it’s worth mentioning the locations Evans chose to shoot were really interesting to look out, so while there’s great fight choreography and bone crunching hits happening, there’s also a beautiful visual style to the whole film overall in the form of interesting locations, as opposed to a ton of set pieces (I’m not positive whether there were specifically built sets used in this film or not – to me most of the locations look natural). Always a plus for an action film.
As a film, The Raid 2: Berandal is easily a 5 star experience. It stands on its own as a really great crime thriller with extraordinary action sequences and fight choreography. In regards to its status as a sequel, this definitely improves on the first for me – there were no characters here I felt weren’t portrayed well. The acting really did it for me here, and took The Raid series to a higher level. The fight choreography stepped it up, too. The prison yard fight alone is enough to raise this up over the first movie. Put all those things together and you’ve got one hell of an action film. There isn’t the same music as the first, but I think the score here really works for the movie, and the fact it doesn’t sound the same is not a drawback. Yet there was a wonderful use of my favourite artist Nine Inch Nails both in the very last moments of the film and over the credits, as well. Really awesome music from Trent’s work on his Ghosts collection of albums. Excellent experience overall, from action to character to plot to sound. You won’t find too many films, particularly action-thrillers, better than this one.
The Blu ray release, again, is a god damn treasure. Getting a look behind the scenes of these Raid films is a treat for me. Like I said before, the fight in the car and watching it broken down kept me busy forever. Not to mention the entire featurette included called “A Violent Ballet”, which is focused solely on the choreography involved in the production of the film. Of course there’s also some director commentary (really worthwhile to listen – a lot of insight from a great filmmaker), and another featurette about shooting a sequel to the first film. These are all really wonderful extras. Highly suggest checking them out if you pick up this release.
Also thrown in is a four and a half minute deleted sequence entitled “Gang War” – this shows a group of thugs getting ready for what promises to be a massive battle, putting guns and grenades and ammo in bags, marching together down the street, and finally they meet another gang. This climaxes in a ridiculously wild and gory shootout between the gangs. I loved every last second of this. There are some great effects in the 4-minute span of this scene. Although, I can understand why Evans opted not to include this sequence in the finished film, it’s really fun to watch. An action packed deleted scene if there ever was one!
The Blu ray release is beyond worth the purchase. 5 out of 5 star ratings times five. I’ve spent hours watching the extras. The picture itself is worth seeing because it’s as close to seeing it in theatre as you can get. Really great experience. The fight sequences look incredible here. Evans’ work as a director shines when you can watch his film in such gorgeous definition. Recommended to the fullest – go pick this up and you will not be let down in the least by either the film or the Blu ray.