Many of you may not know this, but The Visit is an M. Night Shyamalan film. I imagine when I say his name, there’s a good chance you’re rolling your eyes and thinking back on some of his… shall we say… lesser films, but the truth of the matter is that he is a great filmmaker. When you’ve got The Sixth Sense, Unbreakable, and Signs as back-to-back-to-back films you’ve created on your résumé, you’re clearly doing something right. It’s a shame that he’s taken such a beating recently (so much so that Sony buried his name in all the marketing for After Earth), but I believe The Visit (which was created under Blumhouse) is a return to form for him and should hopefully win him back the respect he deserves.
If you read my review for [Rec], you know my contempt for “found footage” movies. I realized after I wrote it that I actually have enjoyed a few, if I’m being completely honest. I think the Paranormal Activity movies have been pretty great, and I even liked V/H/S and Creep, so the genre CAN work on me. And it did for The Visit, as I didn’t find myself annoyed with the gimmicky approach at all and was genuinely creeped out in quite a few scenes.
It’s basically about a brother and sister who go to spend a week with their grandparents. That may sound perfectly normal, but they’ve never actually met their grandparents, so they have no idea what they look like. Years ago, their mother had a falling out with them and she left home, ever looking back. Despite that, everything is good… at first. As the days pass, however, they notice their grandparents doing strange things, especially after 9:30pm each night. Despite multiple warnings about being in bed before that time, the two never are as their curiosity gets the better of them. Eventually, they think their grandparents might even be trying to kill him!! Oh no!!!!!!
What I like most about this movie is how, despite a very straightforward premise where something is obviously wrong, it doesn’t quite play out like you think it should. It also pushes the boundaries of the PG-13 ratings system, and not even with gore, but with disturbing subject matter. I think that has a lot to do with M. Night Shyamalan’s “classic” directing sensibilities (and maybe also because his goriest film to date, The Happening, happened to be one of his worst ones. It is his only R-rated film, too, so I’m sure that factors in). It seems like he has always tried to be this generation’s Hitchcock, especially by doing cameos in his films, but he certainly does know how to ratchet up the suspense in each scene and then let it play out at its own pace. And that definitely works for this movie. It’s a mystery throughout, but some of the creepiest scenes actually happen early on (like the grandmother eerily chasing after them in the crawlspace). By the time all is revealed, it certainly feels earned and isn’t cheap at all (even if my wife and I saw it coming… something our friend Toby did not), and that’s saying a lot for a film these days. I’m actually really excited to see how he will approach Split now.
All of that’s not to say this is a perfect film, however, as there were a few goofy moments here and there (namely the main kid rapping in the film, and then doing an extended rap during the credits), but it can be easily forgiven because the film is so good in other areas. Overall, it just works.
Well, that just about does it for this year’s 31 Days of Horror. We sincerely hope that you’ve enjoyed our picks and have expanded your horror cinema knowledge by watching our overview videos. I know we’ve had a blast!!
So, on behalf of all of us here at It’s Just Awesome DOT com, we’d like to say thanks and… HAPPY HALLOWEEN!!!!!!!!!!
The post Day 31 (Happy Halloween!!): The Visit (2015) first appeared on It's Just Awesome DOT com.]]>I need to point out that I consider Insidious to be one of the scariest movies of this decade so far. I bring that up because it’s also from director James Wan and shares many of the same styles (and even actors) as The Conjuring. Insidious scared the heck out of me when I watched it in theaters and I had a hard time sleeping for days. I really wanted to see The Conjuring in theaters, but I just never got around to it. This was much to the chagrin of my friend Robert because he loves horror films, too, and we share many of the same tastes in movies.
This year, after he remembered that I hadn’t seen it, he decided he’d buy me the blu-ray version of it for my birthday (as well as a few other scary films, including the 3D version of Dial M for Murder) and wanted to watch it with me at my house. This meant that my wife would also be watching it and as you may recall, she HATES scary movies. But she agreed because it was for my birthday.
Now, after having watched it… wow.
Wow!!!!!
But first, a synopsis.
It follows a couple of real life case files from the Warrens, who were actual paranormal investigators in the 1960s and 70s. The first case (and the opening of this film) is the story of a possessed doll named Annabelle. The second case (and main storyline) is about the event that eventually inspired The Amityville Horror. It’s about a family that begins experiencing supernatural occurrences, including strange noises and freaky apparitions, not long after they move into an older house. They hire the Warrens to investigate it and well, to say much more would spoil a lot of the fun. James Wan really understands horror films, and knows that long takes and fluid camera movements can really amp up the suspension, which is then released with a sudden loud noise or movement on screen. These often catch you off guard and make you laugh at yourself for screaming out loud.
This movie is AT LEAST as scary as Insidious, and when you take into account the “inspired by true events” aspect of it, it may, in fact, be the better movie. It’s also a bit leaner and doesn’t have an ending that feels out slightly of left field (as some people felt was the case with Insidious. I disagree with those people, however). Needless to say, I thoroughly enjoyed The Conjuring (and my wife thoroughly hated it, natch). It reminded me a lot of Poltergeist and other haunted house films, too (maybe even The Haunting). It seems very much rooted in a more classic style of filmmaking and that makes it stand out to me. It’s impressive on every level and I loved it. There’s little gore on display here, and that really works for this material. Thanks to my friend Robert for turning me on to this movie. I’ve got to catch up and watch The Conjuring 2 and the spin-off film Annabelle.
Tomorrow, we will close out this whole thing with M. Night Shyamalan’s The Visit!!
The post Day 30: The Conjuring (2013) first appeared on It's Just Awesome DOT com.]]>[Rec] is a Spanish film that was later remade into Quarantine, but they’re both found footage movies and… I don’t like either one of them.
I have to be upfront: I just don’t like found footage movies. The gimmick quickly wears thin and I grow impatient as the filmmakers constantly come up with new excuses for a person to be recording what’s happening instead of just abandoning the camera and running away (like any normal person would do). I also get annoyed at the characters on-screen yelling at the cameraman. That seems to be a huge staple in these kinds of movies, and only exaggerates the generally poor acting that is typical in this genre. It also distracts and reminds you that you’re watching a movie and totally takes you out of the moment. [Rec] is certainly no different, and when I heard, “GET THAT CAMERA OUT OF HERE,” about the 100th time, I wanted to throw my remote at the screen. And that’s not even counting all of the ways they have to cheat the footage to provide cuts, because, after all, they’re not actually going to do any of this in real time despite what the commercials say. Oh? What’s that? A character in [Rec] wants to check out the footage we just watched so we’re literally going to see it being rewound and then played again? Awesome. You know, for a movie that’s not even an hour and half, that feels like a great way to pad the time (while wasting more of mine).
Even La casa muda, while not a found footage movie, used digital techniques to hide their cuts so that the movie appeared as one long shot. It’s similar to what Hitchcock did practically in Rope, so it can be done, and I think these movies would work so much better if they did. I mean, I guess they could always do it for real but then it might turn out as boring as Russian Ark, so maybe that’s not such a great idea, either.
Then there’s the cinephile in me who wants the cinematography to serve the story in a meaningful way, with a variety of beautiful shots instead of this nausea inducing, shaky-cam garbage. I get it. It makes it seem real and raw and in your face. But it’s a freakin’ movie!! We know it’s fake and you don’t have to give us all motion sickness just because you’re trying to (over)act like it’s not. I didn’t like it in Cloverfield or The Blair Witch Project and I don’t like it in this movie. If you read my review for 28 Days Later, then you know my disdain for crappy, digital video. Think of how beautiful and atmospheric this movie could have been with the right cinematography.
The basic plot of [Rec] is that a television reporter is doing an extended report on firefighters and tags along with them on a call to a local apartment building. It’s not long after they arrive that the whole place is quarantined by a government agency and they’re all trapped inside as a zombie-like apocalypse begins to happen, with any dead residents coming back to life and attacking the living. Yes, it’s a found footage zombie movie (or is it a found footage movie about demonic possession? I’m not sure). And yes, it is claustrophobic and frightening in key places. Admittedly, this could be due (at least in part) to the found footage approach, but again, it wears out its welcome and is much more of a con than a pro.
But [Rec] is also an extremely slow-burner of a film, with nothing really happening in the first hour, and then everything sort of crammed in the finale. I did enjoy the night vision during this end sequence, and it did remind me a lot of the similar scene in The Silence of the Lambs, but not nearly enough to make me enjoy the movie. I’d say avoid this one and its many sequels (as well as Quarantine and its many sequels). But if you must watch this movie, please, please, please don’t watch the English dubbed version. It makes the gimmick even worse because the voices don’t match the characters at all and it comes across as horrendously bad (and laughable) due to the huge disconnect.
Tomorrow, Kelley will be back with Hammer Films’ The Woman in Black as we start our last decade of this year’s 31 Days of Horror!!
The post Day 28: [Rec] (2007) first appeared on It's Just Awesome DOT com.]]>It’s not exactly accurate to call this a “zombie” movie, as many of the usual tropes aren’t on display here. Instead, there’s an Ebola-like disease called Rage that infects people and causes them to be much more aggressive and animalistic than they would otherwise be, granting them what appears to be superhuman speed and agility (I wonder if this movie started the whole “fast” zombie thing?) But then again, there’s obviously many zombie elements on display here, especially what happens if one of these Rage fueled people bite you.
The movie starts out as an animal activist group breaks in a laboratory with the intent to release caged lab monkeys. One of the workers there pleads for this not to happen because, according to him, the monkeys have been infected (most likely through various lab tests and studies) and doing so will cause a massive epidemic. The group doesn’t listen, and one is immediately killed in an attack. Flash forward 28 days later, and Jim (played by Cillian Murphy) wakes up all alone in a hospital, extremely confused (I’m not sure if The Walking Dead was inspired by this or not). As he leaves the empty hospital, he discovers that all of London is completely deserted. When he finally discovers people in a church, he’s surprised to discover that they’re all infected, and they all seemingly want to kill him. Even a priest tries to attack him!
As Jim tries to outrun these red-eyed crazy people, he is suddenly aided by Selena (Naomie Harris) and Mark (Noah Huntley). They help him out and bring him up to speed, though details are sketchy. It seems no one knows the true scope of the virus just yet, and whether or not it’s contained just to England or if it has spread to America. This is their new bleak world, where surviving is all you can do and happiness is a luxury they no longer have. Eventually, they run into Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns) and form a family of sorts. When they hear a broadcast, sent from what is apparently a safe haven, they decide to make their way to it, hoping against hope things will be different once they get there.
There are a lot of things I like about this movie. The acting is solid all around, and I really love the idea of a social rage as the culprit rather than just some generic explanation we usually get in zombie movies. It’s more realistic and really works overall. But my favorite part, by far, is the opening scenes in an abandoned London. It’s haunting and really separates this film from nearly all others. It’s not an effect either; they legitimately closed off sections of London to film their scenes. It’s quite remarkable.
What’s not so remarkable, and something I have never understood, is the way this movie was shot, which was on inexpensive, prosumer digital cameras (mainly the Canon XL-1, I believe). Now, digital video has come a LONG way since 2002 and in many cases, can be nearly identical to film, but here, it was still new technology and is extremely distracting. These are standard definition cameras, with a low dynamic range, and it’s just an awful mess visually. If Danny Boyle wanted more realism, he could have gone the route of Michael Mann in Public Enemies and made the sound design be awful as well. Again, I think Public Enemies is a terrible, terrible movies but at least it sucks consistently on video and audio. Here, Boyle still uses professional audio equipment, coupled with all kinds of expensive gear to physically move the cameras, so he didn’t really stay true to a documentary type feel, if that’s even what he was going for. Essentially, it sounds like a big budget movie and has some professional camera tricks, but is marred by horrendous imagery and low resolution, muddy textures. It adds nothing to the movie for me what-so-ever and was especially problematic when I saw it in theaters because blown-up, it looks even worse. The style basically dates this movie to a time before inexpensive HD cameras were a thing, let alone something we carry around in our pockets. The sequel, 28 Weeks Later, was shot on 16mm and looks 1000x better, while still maintaining a gritty, raw texture so it could have worked here as well. In fact, imagine if those empty streets of London had been captured on 16mm, or Heaven forbid, 35mm. I think we’d have been talking about the Oscar winning cinematography at that point.
Still, the bleak tone of the film works quite well, and the imagery of London is impressive, so I’d say check it out for those reasons alone. Just don’t say I didn’t warn you about the look of it.
Tomorrow, I pass it back to Kelley as she reviews The Grudge (which is the American remake of Ju-on: The Grudge)!!
The post Day 26: 28 Days Later (2002) first appeared on It's Just Awesome DOT com.]]>Today we’re talking about Ringu, which is the Japanese movie that was remade into The Ring. These films have nearly identical plot points and key scenes, but this is the rare occasion where I actually STRONGLY prefer the remake, and it’s mostly due to the small changes made, as well as a key few differences in style. As such, I’ll be (sort of) reviewing them together.
Both movies are about a mysterious VHS tape that contains a creepy, surreal video of unknown origins. The story goes that if you watch it, you will get a phone call telling you that you have 7 days to live. And it appears that the people who have received that call actually do die a week later in horrific, unexplainable ways. A reporter investigating the story watches the tape for herself, and then brings along her ex-husband to help her solve the mystery of it before her time runs out.
Maybe that doesn’t sound all that scary to you, but here’s that video from Ringu (and The Ring’s version as well, just for comparison):
To this day, I still feel guilty showing people that video. I feel like I’m sentencing them to their death or something.
Anyway, I should tell you right off the bat that the American version scared the crap out of me the first time I watched it (which, by the way, was long before I saw the Japanese one). My friends knew I was particularly freaked out, and so waited until the middle of the night to call me and say, “7 DAYS!!” when I answered groggily. Needless to say, I couldn’t sleep much that night and actually turned my tube T.V. away from me. True story. Pathetic, but true.
I digress (I do that a lot). Where was I?
Oh, yeah.
I love both movies for the mystery that unravels as you watch them. They’re both great detective stories that happens to feature terrifying images, but still a mystery at their core none-the-less. And they both do a great job of keep you on the edge of your seat with constant reminders of what day it is and how long the characters have to live. What I happen to like more about the American version is that they don’t shy away from showing what happens after those 7 days are up. The Japanese version more or less goes black-and-white and freeze frames during these supernatural moments, but the American shows you so much more. It’s a much better effect, and has a lasting impact.
I also strongly prefer the ferry scene in the American one, where we see a horse jump off the ferry and turn the waters red. I can’t get that image out of my head nearly 15 years later, and probably never will.
And finally, the differences in the characters bugs me. In Ringu, it seems both main characters can read the thoughts of others and see into their past. It’s not really explained too terribly well, and seems like a gimmicky, cheap way to throw in some exposition via flashbacks. The Ring doesn’t even have a hint of that and is all the better for it. I also don’t understand the characters’ reactions in Ringu when they’re in the well at the end, because neither one of them seem too terribly frightened or grossed out to be in the murky water with a corpse; in fact, it’s downright cheesy in this scene when the corpse is finally found.
So, honestly, for all of these reasons, I would say skip Ringu and go straight for The Ring. It’s one of the best horror films ever made, even if the technology in it is dated (I seriously don’t know anyone that owns a VCR anymore). Also, stay away from The Ring Two (which, interestingly enough, was directed by Ringu’s director, Hideo Nakata).
Oh, and there’s a new Ring movie coming out next year that looks pretty scary, too.
Tomorrow is Day 26, and I’ll be back with 28 Days Later. Hope to see you soon!!
The post Day 25: Ringu (1998) first appeared on It's Just Awesome DOT com.]]>Same rules as the previous years: Classics mixed with lesser known films, all organized chronologically by their release date, with at least one film from each decade beginning with the 1920s. Also, no film from the previous lists will be on here (2013 and 2014 for those interested in catching up), and IMDB must classify the movie as “horror” for it to qualify (so, unfortunately that means no Jaws or Silence of the Lambs).
This year, I also wanted to pay tribute to Wes Craven, Christopher Lee and Roddy Piper since they all definitely shaped the horror film genre, so you’ll be seeing some of their films here, as well.
So… shall we begin?
If you’d like to follow along, this is the list (which we will begin on October 1st):