Tagged Vanessa Redgrave

Disturbing Horror for Halloween Season

There are tons and tons of disturbing horror movies out there. I’ve seen plenty of them, but the titles on this list are some of my favourites. Not saying these are the most extreme, the most hardcore, I’m not touting these as the most disturbing horror movies you can watch. Simply, I think these are a good dose of movies running the gamut from thematically disturbing to graphically disturbing, to downright weird.
Without further rambling, here are my picks for a bit of wild horror to throw on this Halloween season, if October really has you feeling like you need to test your limits on film.
Enjoy…?


Possession (1981)
ecfslbxawaseotypjpcl3ibd2prFor my full review and discussion, click here.

The title says it all.
This is probably the strangest erotic horror-thriller you could ever imagine. Even saying erotic horror seems strange, but god damn if this is not full of both horrific and at times erotic imagery.
You could say this is a character study of two people in a relationship and what the ideas of possession mean for both involved.
To say any more would be to truly give things away. Honestly, go in knowing only a very basic plot – a couple falls apart as the wife seems to be having an extra marital affair, which proves to be something far stranger. Just know that when the horror hits you it is going to smash your face into bits, it may even rock you sexually in the worst kind of way imaginable.

Inside (2007)/ Trouble Every Day (2001)
inside-1 You can be guaranteed that if Beatrice Dalle is in it, I’ll watch it! So here is an excellent Dalle double feature which you can indulge on Halloween to scare the wits out of you.
First up is the 2007 home invasion horror-thriller Inside, directed by Julien Maury and Alexandre Bustillo who also directed 2011’s Livid which was on another list I did for this October. This movie is just all out horror and highly female-centric: on Christmas Eve, a pregnant woman alone at home is attacked by a mysterious woman intent on getting inside the house, as well as inside that belly. If you’re pregnant, you may want to avoid this movie honestly, or if you’re super sensitive. Because this horror escalates, from a mild creep to a roaring scare. Be prepared. Also, this whole movie’s drenched in blood and gory bits. Excellently disturbing stuff!
Trouble-Every-Day_1 Second comes auteur director Claire Denis’ version of the cannibal film, Trouble Every Day. Starring Vincent Gallo and Beatrice Dalle, this is the story of sexual cannibalism in humans, as opposed to insects; starting with a husband and wife travelling to Paris for their honeymoon, the husband investigating a strange clinic, and ending with bloody horror. Hard to explain any of the ins and outs, I’d rather not ruin it any more than I already have with this explanation. Either way, Denis is a master filmmaker, someone of whom I’m a huge, huge fan, and this is a really gripping, unsettling movie out of her works. You won’t be sorry. This is disturbing, but it does have a great script held up by a couple solid actors like Gallo and Dalle in particular on whose shoulders the movie ultimately rests.
This is a solid double feature, which really shows off Beatrice Dalle’s talents. Also, it touches on two pretty touchy elements of human nature: pregnancy and sexuality.

The Devils (1971)
THE DEVILS - American Poster 1For a full review, click here.

Maybe this might not be totally considered horror. Honestly, though, if you don’t find Ken Russell’s The Devils horrific I’m not sure how your brain operates.
Both Oliver Reed and Vanessa Redgrave give terrific, agonizing performances in their own right; Redgrave particularly gives a transcendent performance full of religious fervour and Satanic mania.
If you’re going to see this, you need to be able to see it uncut, in its entirety, as even while the most attainable version out there is pretty wild, the uncut version of this Russell masterpiece is unbridled psychosexual horror in its finest.
Just to give you a taste: there’s a scene known as “The Rape of the Christ”. Craziest part is that this whole film, the story and its plot, is partly based on a real story. Need a nice dose of disturbing religious horror? You found it in Russell.

Three… Extremes (2004)
50aee982-8647-40fa-9644-e45f71fc4f42-3_Extremes With three short films in one, this entire anthology only runs around 118 minutes, so you’ve got a great triple feature for the price of one!
Starting off with Dumplings, from Fruit Chan, the Asian horror gets churning with the story of an ageless woman who makes her signature dumplings for other women attempting to capture the elusive fountain of youth and its secrets. Hint: there’s something in the dumplings that ought not be there.
Cut by director Chan-wook Park is the tale of, funny enough, a film director and someone with a grudge. With a trap-like setup surpassing the interest factor of anything Saw ever had to offer, this short is sadistic and incredibly intriguing.
Finally, the short titled Box comes via notorious (and awesome) Japanese director Takashi Miike. I’d like to say a little, but would rather not spoil anything. Let’s just say it involves two sisters who were contortionists, they belonged to a carnival of sorts doing a trick involving a box, and then something bad happened at the carnival. No more, or you’ll know too much! Go in knowing only this: Miike is disturbing, if you’ve not seen his other work you should maybe get ready for a tense ride. Though, each of these shorts has their own test, I find something unsettling about Miike’s approach to stories, like he knows something the rest of us don’t.
Great watch if you don’t mind subtitles. It’s a really disturbing film all over, but Dumplings and Box particularly have always stuck in my mind.

Henry: Portrait of a Serial Killer (1986)/ Tony (2009)

For my full review of Tony, click here.
For a full review of Henry: Portrait of a Serial Killer, click here.
1990-henry-portrait-of-a-serial-killer-poster1 You’ll always hear about John McNaughton’s 1986 shocker when realistic horror is being discussed – raw and savage, Henry: Portrait of a Serial Killer is one of the most unflinching portrayals of serial killers on film. With a central performance rivalling some of the best in horror, Michael Rooker embodies the loose, fictionalization of real life serial killer Henry Lee Lucas; also included is the recently deceased and wonderful Tom Towles as another loose fictional version of Lucas’ actual partner for a time, Ottis Toole. The very brutal and simplistic style McNaughton uses only serves to unsettle the viewer with such an up close and personal view of the inside of a serial killer’s mind and world.
poster23 years down the road, after the release of the McNaughton cult classic, filmmaker Gerard Johnson gives us Tony – another film loosely based on a real killer (this time it’s British murderer Dennis Nilsen the Kindly Killer), this 2009 dramatic horror follows the titular character, Tony: on the spectrum, he is quiet, shy, lonely, disaffected and disassociated. However, at home, Tony cuts up the bodies of those he kills, draining their blood down the drains and the toilet, putting body parts and organs into plastic bags which he later casually dumps into the Thames. The reason Tony is so chilling, and why it’s a great double feature with McNaughton’s film, is because the movie takes us right behind the eyes of the central character – the at times sympathetic yet horrible killer – and never once do we make our way out of his perspective. At certain moments, the film is a slow burning character study; at others there’s an ominous sense of terror. Either way, you’ll be surprised as the film goes on just how depraved this quiet man in his council flat is deep down underneath his unassuming exterior.
Put these two films on – one American, one British – you’ll get an interesting look at the two sides of one coin. Dive into the darkness of the murderous mind!

The Last House on the Left (1972)
the-last-house-on-the-leftFor a full review, click here.

With the lofty goal of making a horror-thriller version of Ingmar Bergman’s The Virgin Spring, itself based on a medieval Swedish ballad, Wes Craven (R.I.P) – at the time a self-professed young and angry man – brought a new style of horror to the screen. There were certainly disturbing movies before 1972, however, Craven effectively brought the ‘rape-revenge film’ to the spotlight with The Last House on the Left.
The first time you see it, something will happen. Regardless whether or not you think Craven’s movie is excellent, mediocre, or not worth the time of day, you cannot deny there is most certainly a lasting impact. After you finish this one, there is a part of you that won’t ever feel the same. I can guarantee you that. Even as, what I’d like to think is, a hardened horror veteran, having seen literally 1,000+ horror movies, there is still consistently something truly disturbing about this one; I own it on Blu ray, though, it doesn’t get played much. Only when I’m looking for a true shock do I throw this on. You may never want to watch it again, but give it one go this Halloween. You may just lock your doors and forget all about the trick or treaters.

Snowtown (2011)
snowtown-1-posterFor my full review, click here.

You may notice the prevalence of movies based on true stories over the course of this list. And here’s another: based on The Snowtown Murders in Southern Australia, Justin Kurzel’s Snowtown focuses mostly on the budding relationship between serial killer John Bunting and one of the sons of a woman he dated at the time of the killings.
A lot of reviews and comments on the internet have stated they find the movie boring, either it’s too slow all around or they feel as if nothing much spectacular happens over the entire course of the film. I just don’t get that. This is a deep character study, once more akin to the earlier Tony/Henry: Portrait of a Serial Killer, and we not only step inside the perspective of a serial killer, we’re bound to the perspective of Jamie – the son of Bunting’s quasi-girlfriend at the time – who did commit horrific acts alongside Bunting in real life. Here, the character of Jamie is mostly seen as sympathetic, both being abused by his half-brother and manipulated by Bunting, and through him the audience is able to both understand and be horrified at Jamie’s new life. Bunting is played amazingly by Daniel Henshall in what is – as far as I know – his first film role specifically; the performance is subtle and extremely unnerving. The whole movie is very involving, if you can forgive it’s at times slow pace. In the end, you’ll be thankful if looking for a disturbing horror, because this is one that really left its mark on me. I’ve forced myself to watch it a couple times and there are scenes in Snowtown burned into my brain; things I don’t necessarily want to see or think about, yet I’m drawn to, as the dark side of reality truly comes out in Kurzel’s film.

Excision (2012)
excision-poster1Anyone know AnnaLynne McCord? I didn’t, until this wonderfully macabre and disturbing bit of cinema. When I found out who she was, what she normally looks like, I was immediately impressed with her performance in this film – not only does she do a great job in her role, McCord physically transforms into another person. To say anything much would ruin the surprise, the sick, disgusting joy you’ll eventually take out of seeing all the nasty visuals of Excision come alive before your eyes.
Basically, this is the story of a young girl’s becoming – she is turning into a woman, mentally, physically. Yet the bloody beginnings of womanhood translate into something entirely different for this high school girl. She fantasizes about crimson waves, organs, tortured and mutilated male bodies, and so much more.
I’d never seen this movie, yet picked up the Blu ray because I found the description of the film, as well as its cover art, extremely intriguing. There’s not only disturbing horror here, the screenplay is full of sass, wit, and oodles of black comedy. Plus, John Waters, Ray Wise, and Malcolm McDowell all show up, so how is that not awesome? Choose this if you want to shake up your expectations, just make sure your stomach isn’t weak because a few moments in this movie really pushed my limit and that rarely, if ever, happens. Still, I love it and could actually throw this nasty little shocker on any time.

Grimm Love a.k.a Rohtenburg (2006)
grimm_loveFor my full review, click here.

Back once more are we to the reality of killers, the depraved and sick, twisted individuals lurking out in the material world, not simply characters banished to the abstract realm of film and television. 2006’s Rohtenburg (English title: Grimm Love) examines, not using the real names, the case of Armin Meiwes who was arrested in 2002 after police discovered he found a man on the internet, a willing participant, to eat; together, they attempted first to eat his penis together, after which Meiwes killed his companion, quartered him up, ate pieces and stored the rest in his deep freeze.
There’s a romantic aspect to the main characters of the film, mirroring the real life pair – even within all the sickness, the cannibalism, each of them and their intensely depressed states, these two men connected on a level most of humanity will never know. Still, no matter their intentions, no matter their feelings after meeting one another, these two men were fatally damaged, eternally flawed. While there aren’t too many graphic bits here, it’s the emotionality and intensity of the plot which makes things disturbing, very real. If you’re able to handle such a wild ride into some of the more twisted aspects of the damaged human psyche, then I suggest Grimm Love as an interesting way to spend an October evening.

Audition (1999)/ Contracted (2013)
audition-cover2 I want to preface this double feature by saying evil comes in all shapes and sizes, all forms, all ways.
The first of two evils is Takashi Miike’s Audition; not surprisingly, Miike shows up twice on this list, first in Three… Extremes. This 1999 psychological-horror starts off with a recent widow looking to start dating again, so with the help of a friend in casting he arranges to interview (or ‘audition’) women to become his new partner. However, after meeting the supposed new woman of his dreams, the man comes to discover she is not whom she appears to be at first. Beginning with a vague romance, this Miike film typically devolves into pure madness, controlled, but madness nonetheless. With some of the most unbearable torture in film history, this is not simply “torture porn” (hate that label; read other reviews to find out why). Rather, Miike brings psychological fear to life – from the fear of meeting someone new, to the thought of losing someone you love and having to start life over again – as well as touches the deepest, most visceral nerve possible in each of us.
contracted-posterFrom the story of a female torturer, we move to Contracted, starting its vicious and horrific descent into psychological/body horror with a cold and ruthless act committed by – this time – a man. People criticized the marketing of this film because it says “one night stand”, when clearly the young female lead is actually date raped at the start. However, unless I’ve not heard all there is in terms of press, I don’t think it’s intended this is meant as a LITERAL one night stand; merely, the tagline says “Not your average one night stand” in a dark, acidic way. Because once you get into this movie, you’ll realize England is trying to make you uncomfortable. Not simply for uncomfortableness sake: there is legitimate horror here. There are bits of David Cronenberg in here, with all the attention paid to the lead character’s body deteriorating after obviously having contracted a virus from the man who date raped her. Even more than that, I think England makes a few highly poignant points about the male mind, in terms of both the man who raped the film’s lead and the man who pines for the lead’s attention. I won’t spoil anything else.
This double feature is bound to leave you shocked, in awe, and maybe not in any kind of good way. Miike’s Audition came before the golden age of online dating, so I imagine it might touch more nerves today than even when it came out 16 years ago. Moreover, Contracted is the Eric England rape metaphor film we never knew horror could produce (the sequel leaves much to be desired) and while it has things to say the most of its power comes from the cripplingly nauseating visuals. If you want a downright unsettling double feature for Halloween or leading up to the special night, this one may be your Holy Grail.

Sleepaway Camp (1983)
Sleepaway-Camp-Poster By now, most anyone who is into slasher horror movies, even in the slightest, has definitely heard of the 1983 classic Sleepaway Camp. Not just that, they’ve definitely heard of, or have seen, the outrageous and terrifying twist finale. I will not spoil anything in the way of its big gem.
What I will say is that this movie is one of those genuine ’80s-era slashers which is deserving of its cult following and infamy. It isn’t perfect, nowhere near that, however, I’m a firm believer this is one of those top notch slashers simply because I NEVER ONCE SAW THIS TWIST COMING! I mean, fuck M. Night even on his best twist endings, this one is the RULER OF ALL TWIST ENDINGS. Sorry, I love Memento, I love The MachinistThe Sixth Sense was a whopper in its day, and there are plenty others… but SleepawayfuckingCamp just rocks all of them out of the water. Say no more. Want a good dose of by-the-lake horror and a finale that will haunt your dreams? You’re welcome.

Antichrist (2009)
1.inddFor my full review, click here.

Lars Von Trier is a name you can say in a room and find a hundred different opinions about from just a couple people: some think he’s trash, others (mostly those who’ve only seen his recent two-part Nymphomaniac) say he’s a pornographer, then there are those of us who think he’s full of unbridled, unadulterated genius. Sure, he doesn’t always hit the mark, but what filmmaker ever has? Not a single one in history has made a full catalogue of perfect movies. But Trier, each and every time at bat, steps up and delivers something, at the very least, worthy of endless hours of conversation.
His 2009 film Antichrist is the study of many things: misogyny + misogyny’s affects on womankind, relationship dynamics, parenthood, as well as so much more thematic material. Containing two of the bravest performances I’ve seen in the past 10 years, both Willem Dafoe and Charlotte Gainsbourg are captivating. Most of this movie touches on subject matter and themes many will find, in moments, almost reprehensible – from genital mutilation on the part of men and women, to the death of a child while his parents have sex. It isn’t all provocation and in your face, nasty horror, Von Trier touches at the heart of issues in all his films, whether people wish to recognize it or not. No matter what, Antichrist will pull you in, chew you up, then spit you out. Then lap you up and chew some more until all the grizzle of your brain is digested. You may never ever forget these 108 minutes, no matter how hard you scrub that grey matter.

Calvaire (2004)
calvaire If you weren’t sufficiently disturbed and left sleepless by Lars Von Trier, I present to you the final offering of my list: Fabrice Du Welz’s 2004 psychological horror-thriller, Calvaire.
The movie follows a struggling entertainer, a singer named Marc, whose latest and slightly sad tour takes him out into the backwoods of Belgium. When he breaks down, Marc comes across an inn through the woods, owned and operated by a Mr. Bartel, the seemingly friendly and welcoming host. After the first night, though, Marc discovers Bartel is not as friendly as once it seemed – the man first stalls on fixing Marc’s vehicle like he promised, then when he tears the battery out and other parts, it’s very clear Bartel is up to something more sinister. Trapped at the inn, Marc’s journey falls quickly into a darkness he could never have anticipated, not in a million years, and the stay at Bartel’s inn transforms into a fight for survival.
This is another one I purchased blind on DVD, not knowing anything more than the description and reading a couple reviews online, as well as based on the neat cover art. When I first saw this, I was completely floored and still, even when I’m in the right mood, Calvaire is full of uneasy moments. There’s a slow burn quality to this one and things don’t jump right out, often the pace is snail-like, yet if you can make it through and continue to watch up to the end of the finale. you’ll be well rewarded in terms of disturbed emotions. And after all, that’s why you came to this list, right? Welz’s shocking psycho-horror is full of chills, thrills, and unwanted uncomfortableness. Watch, but only if you dare.


Here ends another list for the Halloween season! I hope those of you who’ve come to find something fittingly full of shocks and super nasty will walk away satisfied. I’m sure many horror hounds have at least heard of all these, most likely they’ve also seen them, too. If you’ve got any of your own suggestions, at 4,100 films watched it may have been something I’ve already seen – regardless, I want to know what everyone else finds disturbing and what you’re watching to get the creepy October-Halloween vibe happening. Let me know in the comments what you think of the list, or if you have suggestions for other nasties I should include in my own viewing list this season.
Cheers!

The Solid Action & Suspense of Mission: Impossible

Mission: Impossible. 1996. Directed by Brian De Palma. Screenplay by David Koepp & Robert Towne from a story by David Koepp/Steven Zaillian; based on the television series created by Bruce Geller.
Starring Tom Cruise, Jon Voight, Emmanuelle Béart, Henry Czerny, Jean Reno, Ving Rhames, Kristin Scott Thomas, Vanessa Redgrave, Ingeborga Dapkunaite, and Rolf Saxon. Paramount Pictures.
Rated PG. 110 minutes.
Action/Adventure/Thriller

★★★★1/2
mission-impossible-poster
There are certain movies out of the 1990s I remember fondly because they’re titles I’d rent on the weekend and watch with my parents. They were always pretty good about letting me watch a lot of things, as long as my little sister wasn’t around, and depending on how crazy it was they would probably watch it with me. But even before that, when I lived with my grandparents – my grandfather was a member of Columbia House when it was in its prime and he’d get like 9 VHS tapes for such a low price. So their place was full of old movies on VHS; I saw tons of stuff I probably shouldn’t have seen at ages 7-8.
Mission: Impossible is one of those movies I remember seeing after it came out on video. My parents and I rented it, I remember enjoying it so much it was one of those films I’d watch over and over. Honestly, I think Brian De Palma did an excellent job directing this with a great deal of suspense and tension, plus there’s the fact I think it’s a pretty damn good adaptation from the original 1966 series. No doubt hardcore fans of the original television series might not enjoy it, however, I think they modernized it, updated things just well enough while keeping the spirit of the original to make it something interesting.

When Jim Phelps (Jon Voight) heads to Prague on another mission with his IMF team – including wife Claire (Emannuelle Béart) and top agent Ethan Hunt (Tom Cruise) among others – things begin as per usual. Unfortunately, there is an incredible failure during this new mission; a fatal failure. But no one is sure who did what to cause the chaos.
After he is left the sole survivor in a massacre which sees Phelps and Sarah Davies (Kristin Scott Thomas), among others, all die at the mysterious hands of an outsider, Ethan Hunt is accused of mutiny and the failure of their mission is pinned on him. With the help of Luther Stickell (Ving Rhames) and Franz Krieger (Jean Reno), and even a shadowy arms dealer named Max (Vanessa Redgrave), Hunt goes underground, using everything and everyone at his disposal in order to uncover exactly what has been happening. Most importantly, he hopes to find out who laid waste to his colleagues from the IMF and why they hoped he would be framed.
still-of-tom-cruise-and-kristin-scott-thomas-in-mission--impossible-(1996)-large-pictureAbove all else, I think De Palma does well by crafting a genuine atmosphere of suspense because while there’s action here, it would come off like any other action film were there no such feeling to the movie. It follows along with the flow of the plot well. As we start, things are light and fun – the team feel in sync with one another, joking, laughing, generally acting as if being secret undercover agents in a dangerous high stakes type of game is no big deal. However, this quickly cuts from that lighthearted feel to one of tension. As the IMF team, one by one, are dispatched, the tension gets thicker. Even the way in which De Palma has the scenes go, the fog on the night air almost seems to intensify with the plot’s movement. Everything is shrouded, until finally it’s Ethan left; things clear off, he is the only one living, and then there are the police. This sets up how the next segments will feel, as we move into the heavy mystery of Mission: Impossible.

Something I’ve always loved about this movie is how there’s a ton of action, but it’s not a load of gunshots and muzzle flares and smashing objects, walls and other set-pieces filled with bullet holes. I find it’s all intense action while not having to resort to the typical gunplay with which so many other American action/crime/thriller movies seem to be obsessed. This is where that ever present air of suspense and tension helps.
While many films might’ve flubbed the scene where Ethan Hunt (Cruise) suspends himself down over the lasers, in that high tech security room from Thieves Hell, De Palma makes this so insanely tense you can almost feel Tom’s butthole clench just watching it. It’s great stuff because what could be so simple and visually unappealing at the hands of another director becomes the stuff of action movie legend under the guidance of Brian De Palma. He doesn’t have a perfect track record as a director – but honestly who in the hell does? Not even Kubrick for those typical film fans who say he’s perfect; he was amazing but not perfect – but I think De Palma is absolutely one of the greats of American cinema. No doubt in my mind about that. Here, he shows why he’s a master of the craft.
The entire sequence leading up to the ‘suspended above lasers’ moment is classic. Well filmed, nice pace, and the set they used for that is very cool. Always loved the way De Palma includes the shot showing a drop of perspiration slipping off a plastic cup, setting off the alarm in the laser protected room; such a perfect zoom in close on the cup as Ethan Hunt describes the security inside. Not sure why I particularly enjoy that little moment, but it’s always one that strikes me for whatever reason.
still-of-tom-cruise-and-henry-czerny-in-mission--impossible-(1996)Ever the fan of Alfred Hitchcock, as so many are, De Palma has a magnificent shot a little over 30 minutes in which reminds me of the staircase in Vertigo (which is my personal favourite Hitchcock). I don’t know if that was intentional, or simply a wonderfully coincidental shot that came up from the use of that location, but either way it is awesome. A wonderful homage. The camera rotates opposite the staircase and it creates a neat effect. Disorienting slightly, in a good way.
One of my favourite scenes is when Ethan uses his explosive gum. The way it’s shot, the angles De Palma frames each one, there’s a good pace of suspense up until the explosion, then Hunt is gone again. Not a long scene, it’s just well executed. De Palma goes for a lot of interesting low angles and tight close-ups in those suspenseful moments. Another great example is when Ethan first meets Max (Redgrave) and they’re watching for a signal – something simple, once more, becomes impressive because of the precise, honed direction. Has all the earmarks of a fabulous thriller.
mission-impossible-DIThough I do like a couple of the other Mission: Impossible films, it’s easy to see the distinction between this and every other one. I was even a huge fan of Mission: Impossible – Ghost Protocol, though, there is still no comparing it the original in this series of films. I mean, there’s such a genuine measure of tension built up throughout almost every scene, or every second one, that the movie never seems to let you go. Start to finish. From those opening bits, as the IMF team watch Ethan Hunt do his thing – mask and all – to the incredibly subtle, suspenseful moments as Ethan is being lowered into the ultra secure room at Langley a.k.a CIA Headquarters in Virginia; every important piece is shot in such a way that the maximum suspense comes out. Most of the franchise after the first movie seems to rely heavily on massive, epic-style set-pieces alongside fast paced action sequences and gunfire, as well as the odd explosion and demolition. I’m not saying that’s no good because with movies such as Mission: Impossible, you do come looking for a certain degree of explosive, big Hollywood budget type action movie stuff.
However, Brian De Palma gives us so much more. Almost each shot is deliberately framed which aids in setting the pace, and in turn the tension. Even in Ghost Protocol which I enjoyed to the fullest, there’s not the same type of tense atmosphere and tone created in any of the sequences, it’s mostly balls to the wall sort of filmmaking. Again, nothing wrong. Just different here. De Palma makes this more than another action flick, and more than a reboot of some old television series (something ALL too familiar now in 2015) – this is a genuine thriller, with mystery to boot, and there’s a bonafide sense of old school filmmaking from an old school director.
screen shot 2015-07-27 at 2.00.12 pmWhile my only complaint is mostly a bit of the acting (mainly Jon Voight who I find personally is either hit or big miss), I think the script itself is pretty solid. Lots of good twisty-turny corners and red herring-like activity going on, which fits perfectly with Brian De Palma who, as I mentioned, comes from the school of directors who pretty much worship Hitchcock. Overall, I’ve got to say this is a solid 4.5 out of 5 star film. A few things could’ve been improved on, but I think ultimately so much of this is pure excitement, thrill, and suspense/tension that it’s hard to deny how great of a film it is. Not to mention De Palma’s direction elevates this above all the general tripe we get calling itself action these days.
Naturally, there are some over-the-top elements absolutely. However, I think the way De Palma plays with everything, plus the fact the script knows exactly what it is and what it aims to do, really helps make it all so very worth it. Boasting an impressive performance by Tom Cruise, including his penchant for trying to do as much of his own stunt work as possible, Mission: Impossible is one of my all-time favourite action movies; it has everything from intensity to a drop of humour, and don’t forget there’s an expertly cultivated atmosphere at the hands of De Palma which would never have made it to the screen had this film been helmed by anyone else.