When Angels Sleep (2018)

Crossing the line

By: JWBM

This Spanish made thriller is essentially about a perfect storm of events leading up to someone getting hurt from one bad choice after another. It doesn't outright lay its cards on the table, but it instead requires you to individually process the situation by leaving room for interpretation to some debatable aspects: from an over-worked society, trying to be everywhere at once for your family, to not accepting responsibility. No one in this film is capable of listening, asking for help, or following the rules. It's like watching a preventable, horrific train wreck from a little thing called stubbornness we often succumb to.

What's different over your typical story is it blurs the lines between good and bad. There is no hero or better person, though there may be a villain in some form of the definition. There may be someone to root for, or nothing they may do may be relatable in the slightest and get on your nerves. It depends on your patience, morals, or stand points to analyze and pick apart the layers. Sure, the police and the courts would have something to say about it, but it's at a gray point where things turn into a tangled mess. It reminds me in some ways of the beginning of "Breaking Bad," though with different people in different circumstances. Specifically where the character initially crosses the line, and then after is locked into creating his own framework that's at a complete 180 from the societal norm for the sake of his family.

The majority of the film takes place in rural areas at night, so attempting to watch this with any shred of light in the room and you may end up squinting. Its mode of action starts to shuffle itself back and forth with driving this way, running that way, or fighting over here. The performances—I'd recommend the Spanish language version over the dubbed—from the two leads gives this a certain divide, where oh-crap-I-messed-up desperation meets I-took-some-scary-drugs panic. Some of the latter was amped up to the extreme to further the narrative. While possibly true to the state of confusion and distortion of reality, it still can come across as about as fun as attempting to argue logic with your aggressive, drunk friend.

While not a perfect execution of its more action oriented scenes or its more complex themes, the film—while also not a pleasant or appeasing experience in the normal sense—is still worth a go if you're looking for a challenging debate between your friends.

Rating: 6/10

Director: Gonzalo Bendala (Asesinos inocentes)
Actors: Julian Villagran, Ester Exposito, Marian Alvarez
Info: IMDB link
Trailer: YouTube link

How It Ends (2018)

More like: Why We Carry On

By: JWBM

What length would you go to for a loved one? Would you wait it out? Would you weigh your options? To some, those are important questions to sit on. To others, the answers are already rapidly checked off as they're walking out the door no matter the stakes.

After an unexplained event cuts all communications, a do-what-it-takes retired Marine and a suit-and-tie lawyer take a cross country trip to the west coast to be reunited with their loved one. There they encounter the slow erosion of not only the landscapes, but also a chip away at humanity.

The film gives different perspectives: from various shots of how vacant the world has become; such as the beauty of nature, to its more perilous side. It's also haunting how different inventions and contraptions cease to have use; or how humans are still holding on to material things, or going for the throat when it comes to resources.

This is more a tried and true tale of survival for a small group of people than it is about showing a moment-by-moment 360 degree viewpoint of the concept such as "Outbreak" or "2012." Like "The Road," hints are given, but nothing is outright outlined to maintain the perspective as the characters would experience it: as a loss of control of everything they know through confusion and chaos. To some, they may feel robbed for their patience, to others they may be rewarded for the thrills and more emotional investment the story delivers. As far as apocalyptic films, there are a few scenes that require you to dust off the ol' brain and read between the lines. There are also a few other scenes that are about as over-the-top as they come.

The film does a decent job balancing a mix of drama, suspense, and action without doing one just for the sake of it or getting stuck in a certain mode. The characters grow from the outset and use the journey as a crutch to move on and then settle some differences. It's essentially a race to get over a series of hurdles while running blindly in the dark, with you the audience to root them on.

The most stand out performance is Forest Whitaker, which gives the film a certain intensity and driving point. It's the kind of story where things are handled and get done, but then the emotional toil and impact comes rearing its head after the fact. The leading character, the lawyer who's determined to get to his gal, straddles between blending in to the background, to being the ordinary man doing extraordinary things.

While "How It Ends" isn't something to throw on more than once, or hand out moral questions or poignant commentary that will keep you up at night, the film does what it set out to do: to deliver a simple story with human characters with gravitating determination and willpower, and to drop reminders as to why we carry on. It's the kind of film that can be torn apart for its easy to spot formula and more stripped down delivery. Or it can become a basic and diverting form of entertainment if you let your guard down and absorb it for what it is.

Rating: 6/10

Director: David M. Rosenthal (A Single Shot; The Perfect Guy)
Actors: Theo James, Forest Whitaker
Info: IMDB link
Trailer: YouTube trailer

Unfriended: Dark Web (2018)

Someone wants night light sales to raise

By: JWBM

This mixes emotional interactions with digital connections. To some who frequently use the medium—video chat, social media, instant messaging—it's going to hit home in the way it exploits flaws and advantages of this new age of communication. To others who get a little more sunshine, they are going to feel somewhat disconnected with the experience.

This is the kind of horror brewed up for the sole intent to keep you up at night. Its ploy is to be relatable with a group of friends who've moved into different avenues with their lives, but are still making the effort to connect through game nights over video chat. Though it creeps up, and before you know it you're neck deep into the muck, helpless to its treachery. The entire film is shot through the perspective of the main character's home screen: with various video feeds and searches to keep the senses busy. It's realistic to Internet surfing, though at times it's also just as annoying to how fidgety we can be with the next click of the mouse, or impulsive change to something else more tantalizing.

The premise is a neat, inventive idea regarding a secret league of bad guys out there to get the upper hand through new means. Yet, for the normal folks, it's a lesson in being as powerless as a deer in headlights with grass stuck in your teeth. There's no real back and forth here, just mostly a continuous slow motion stab in the gut with your hands tied behind your back for the sake of sport. Easy targets. Why? Because. The experience has memorable imagery and jarring ideas, though underneath of it all, the story is somewhat easy and straightforward. Its goal seems to want to be an impossible nightmare that hits you where you feel safest: in your around-the-house clothes while resting in that sweet spot of your favorite chair.

Once the heat gets turned up, the events unfolding managed to keep a steady amount of tension and intrigue going on. At times it tried too hard to be crafty or dramatic, at other times it was just enough to get under your skin. How the formula is set up requires a careful eye to see what's flashing this way or that over the screen; mysterious one moment, to as tedious as looking over the shoulder of someone browsing the web at their own pace.

"Unfriended: Dark Web" felt more than just a gimmick compared to other horror features that only have an inventive idea with no backbone to stand up and walk. As out there as it is, it works to a degree. While it had some kinks, and at times reduced its characters they built up to unsuspecting victims, or outright bawlers, it still leaves room for one to be curious to how intricate or dark this section of the web can actually get.

Rating: 6/10

Director: Stephen Susco
Actors: Colin Woodell, Stephanie Nogueras, Betty Gabriel, Rebecca Rittenhouse, Andrew Lees, Connor Del Rio, Savira Windyani
Info: IMDB link
Trailer: Youtube link

Cam (2018)

A world your ad blocker never lets you see

By: JWBM

Welcome to the world of online cam girls, where there's a melting pot of the weird, erotic, and downright playful. Looks, attitude, and going along with anything thrown your way by lonely men desperately tapping away on their keyboards will bring your ratings soaring to the top.

Things are going well for a south west gal who goes by the handle of Lola. Her friends and family might be uptight and clueless, though that doesn't stop her from transforming her apartment and evolving her day to day life around being successful at what she does. Right when she's lapping up a series of praises and tokens from her eclectic clients, someone takes over her account, pretending to be her to an unmistakable degree. In an online make-believe world of superficial friends and relationships, few may care that an imposer stole her identity, or that it's not actually her still one-upping herself.

Being a subject matter on the "darker" side of the web, this manages to keep it rated R with some light nudity and more of a fun and suspenseful environment, rather than being something as daring as, say, "9 Songs." Though there is an actual story to tell about something few might care to talk about after the fact. The film does a decent job setting up its premise, showing how this all works, then keeping your interest as the mystery unravels. The drama portion was somewhat light on its feet to tackle the double identity portion of it, or to show not all of it can be glamorous. The tension of it can be boiled down to a single, mostly predictable scene and then reset after that. The lead actress—Madeline Brewer—can be both bubbly and naughty to flesh out her Lola persona, while then transitioning to being tenacious to her work, to then getting herself back on track no matter the stakes.

The thriller portion, while it kept up a consistent pacing, and had some smooth transitions from one scene to the next, isn't going to be as mind-blowing or conversational as, say, an Adrian Lyne sexy thriller like "Indecent Proposal." It's also going to require you to put some pieces together yourself. For a film with some cheap thrills, it's subtle and not spelled out in a manifesto, which I feel still works with no issue to tie it together, but might not work for other viewers who want names, faces, and facts. However, the overall film still has some of its own personality, and ended up being a lightly tantalizing and diverting experience by showing something not normally explored.

Rating: 6/10

Director: Daniel Goldhaber
Actors: Madeline Brewer
Info: IMDB link
Trailer: Youtube trailer

Baoh (1989)

An anti-hero with a worm for a brain

By: JWBM

For heroes and anti-heroes alike, the '80s were a breeding ground for one characterization to stand out with something more unique than the next upcoming sensation. Where "cartoons" were once known as an innocent means to bring about comedy or adventure, some were becoming more serious and story oriented. Material hit the shelves with the likes of "Vampire Hunter D" and "Wicked City": stuff so mind-bendingly violent and perverted that you'd have to hide it from your Sunday school teacher in fear that they'd discover the dark truth and deem you a heretic.

"Baoh" is akin to the next level of live action. It's not "Akira" level of sophistication, or what "Guyver" would end up fleshing out further with a guy with sudden abilities, but it's still where animation was learning a creative thing or two, plus taking powers and capabilities to another level of ferocity. Every other scene goes for a wide-eyed, queasy stomach hit to the senses and then some. It's your head in a vice tempting a messy fate with every skull-crushing turn. The story stripped down is fairly simple and pedestrian, though it's the punctuation put after it that gets the pot boiling to a roaring degree at points. Its mode of story-telling is to lunge for the throat, release, and then to offer up an explanation for the surprising outburst. In a nutshell: a government tested human weapon escapes the clutches of its masters and is then hunted down by an assortment of other powerful experiments in a series of bloody showdowns.

In what turns out to be its strength for the first half, also turns out to be its weakness for the last half without any change of formula. It's like a live-action music video: flashy, fastly edited, and somewhat hollow for story, but full of a share of creative angles and emotional impact. One moment its sense of mystery comes with fresh surprises, though there are points where it feels like it makes it up as it goes with more strange powers, and more random characters that pop out of thin air. It could have benefited by some duality to Baoh's or his master's character; even at 48 minutes, it doesn't have much for meat on its bones. In other creatures on the loose type of films you often get some kind of morality or sympathy coming from either side: from the creator with the best intentions that accidentally takes it too far, or from the monster having unparalleled power but not knowing the consequences of its actions. It makes it lack the inner workings to be more than a black versus white tale of I'll attack you, you attack me back, till one of us comes out the victor.

It still has a certain factor of coolness going for it, along with some memorably gory scenes to high five your friends to. Despite its quirks and straightforward nature, it's somewhat entertaining if you let your guard down and know you're only getting exactly what's promised. It's just not up there with other action oriented animes such as "Fist of the North Star" with a little more backbone and characterization to it.

Side note: If you're trying to decide which language version to watch. I'd go with Japanese with English subtitles. The dubbed English feels somewhat rushed and unintentionally eye-rolling at points. Though it's not without its charms if you've got a rowdy, voice-their-opinions group watching this.

Rating: 6/10

Director: Hiroyuki Yokoyama (Mobile Suit Zeta Gundam)
Info: IMDB link

Damien: Omen II (1978)

Death by glare

By: JWBM

"Forces from him shall appear and profane the temple and fortress, and shall take away the regular burnt offering. And they shall set up the abomination that makes desolate." - Daniel 11:31

With the second installation—to take on the teenage years of Damien—we get a change of pace with all new actors, but one, and some fresh faces in the filmmaking crew. Lessened is that relentless, dark and looming atmosphere from the first film, and in its place is an attempt to go for more everyday realism to establish some background of the characters. Some major themes here are politics, severing ties, and mastering a fight to the death without throwing a punch.

One portion of the tale shows the upbringing of Damien under the wing of his rich and powerful uncle, Richard, who spearheads Thorn Industries—a sort of global powerhouse with hands in this and that—along with an almost humanization of the Antichrist while he attends a prominent military academy and finds out who his true friends and enemies are. I felt that was a clever move to give a slight pull and tug dynamic to what's just conceived as an embodiment of evil. Though if pushed deeper—instead of hovering around the surface—this story could have burrowed under your skin, and remained a permanent scar when thinking of the personification of the son to darkness. For a movie about Damien, it should have focused more on him rather than using this as a pedestal for things to come. There's still shreds of life to him, and some different hues and shades. Though it doesn't seem to last long and resorts back to stoic looks, and a that-person-knows-too-much-and-must-die film.

What becomes its undoing is that it feels like a sequel instead of a stand alone film. It turned "The Omen" into a franchise with a predictable formula. One you can count on, sure, but not one that will surpass anything the first established already. It works in areas to put you in the moment from the acting to the generous score—with a return from Goldsmith to pull a few more spellbinding variations—but in other areas it feels a somewhat stale echo to the past. It was a tough balance to strike, in that the story expands on itself, and at the same time attempts to go for more horror and shocks. At points it loses its sense of mystery when it steps out in the open: fighting in the hallways with unparalleled powers, or answering back smugly in the classroom as if everyone around is a lesser being. It felt more to sell you the allure of it all, then pull the rug out from under when you realize how much of a monster he's grown up to be. It's also conflicting seeing this, in that the audience is repeatedly told who he is, but by the time the characters catch up to realize what's going on, the impact of it at that moment is lessened.

The film generates a particular modus operandi: a sort of Antichrist pyramid, so to speak, that establishes who's where in the pecking order. If you find yourself at the bottom, you'll soon get a haunting visit from a raven—with Latin chanted theme to set up the inevitable—which is a sure trip to the casket in more than one piece. As horrific as the deaths are, they still come with easy to guess certainty of who's going to get an early demise, or, on the other hand, who's in conspiracy with the dark side. It turns a potentially gray film, into a black and white one. Guess the more low-key and practical way of making every opposing person inconspicuously deaf, dumb, mute, or blind isn't as entertaining.

Rating: 6/10

Director: Don Taylor (The 5-Man Army, The Island of Dr. Moreau)
Actors: William Holden, Lee Grant, Jonathan Scott-Taylor, Lance Henriksen
Info: IMDB link
Trailer: Youtube link

In Darkness (2018)

A hitman and a blind woman walk into a coffee shop

By: JWBM

A professional musician, who's lost her sight as a little girl, lives alone in an apartment in London. As of late, there's been muffled commotion heard from the upstairs quarters where another woman, Veronique, lives. One night, the arguments culminate and Veronique ends up dead. Detectives arrive on scene to investigate and ask the blind woman, Sofia, if she has any information regarding Veronique's sudden death. Soon, Sofia gets slowly pulled into another world when it turns out Veronique may have had more than a few dark secrets.

This is a mystery-thriller that's all about that don't-look-back pacing and didn't-see-that-coming revelations. It's played out with more low-key jabs to earn points, rather than serving up a series of bigger blows. This starts out on a high: delivering pulsating, memorable music, a consistency of creative camera angles, and a certain atmosphere to cement itself as a murder-mystery. Natalie Dormer, as Sofia, comes with the most dynamic to her character. She plays a confident woman who takes on the world in one moment, and then in the next is overly hard on herself when taken down a peg by uncontrollable situations around her. She's a fighter and a survivor despite the odds—that's for sure—though there's a troubling underscore to her that one can't quite put their finger on.

The ultimate intention of "In Darkness" is to entertain. It's saddled between reality and a make-believe world never seen before, or possibly experienced again. It's full of tantalizing scenes and situations to keep your senses alive. Though think too hard on it, or go back for another viewing expecting deeper layers, and you might be disappointed. I mean, they pick a traumatic moment that makes little connection if paused and pondered on as to why that would have lined up the way it did. Instead of delving deeper, the characters just keep reimagining it in similar ways, as if that will make it more rooted as an event.

The main villain is a two-dimensional Jekyll and Hyde without the mental turmoil to solidify him: either doing the nice guy with a foreign accent bit, or the utterly evil guy who mysteriously preys on blind women, but nothing in between to cement him as a living, breathing person you may fear or respect through the barrier of the television set. There's also the go-between, soft-and-hard hitman, Marc—played by Ed Skrein—that's going for Mr. Charm. He has a light edge of danger, but is almost too safe and predictable in that he does exactly what you'd expect him to, and always shows up when needed.

What starts out on a high and with a share of great potential, winds down to a finale that doesn't materialize with stable legs once all of the smoke and mirrors clear. The film feels emotionally powerful at first, but ends up being just a flash, a bang, and ultimately a let-the-senses-go distraction for an on-the-fly, don't-look-back Thursday night.

Rating: 6/10

Director: Anthony Byrne (Short Order, How About You...)
Actors: Natalie Dormer, Ed Skrein, Jan Bijvoet, Joely Richardson
Info: IMDB link
Trailer: Youtube link

Winchester (2018)

Things that go pop in the chest 

By: JWBM

It's 1906: Sarah Winchester has earned herself a reputation as not only the richest woman in the country, but as an eccentric person that might not be all there. She's inherited millions from the Winchester rifle company after her husband passed away some years back. She used said money to build herself a lavish mansion out west—which in real life today is something of a legendary tourist trap in San Jose, California. Dr. Eric Price—who is an unorthodox doctor of sorts and has a troubled history himself—is hired by the board of the rifle company to see if she is in fact fit to control half of the company. Price takes on the job and stays with the family in the mansion. He soon notices things might be off—not necessarily all concentrated to Mrs. Winchester—but also with the house and those that visit it.


The mansion is full of oddities that make little sense to practicality or logic: such as doors, cabinets, or staircases that lead to nowhere in particular to the naked eye or casual observer. The story attempts to piece together certain missing aspects about this real-life enigmatic woman and her extravagant home in a dark and mysterious way. At times, the movie feels more interesting than it does frightening. It's centered on being a drama that decided it needed some scares inserted at random points to add some thrills. It builds up to one big finale, but before that it's sprinkled with CGI centered pop-and-jump scares—not to mention let-me-be-curious-about-that-weird-noise kinda thrills—that feel a little cheap. It's like their way of saying, 'Hey we're still partly a horror movie and not just a loose, fantasy-like biopic.' It's not as genuinely spine-tingling as, say, "The Devil's Backbone," or even "The Others," where you were transported to the same room and felt the cold, responsive chills from those capable of crossing between planes of existence.

The acting is surprisingly well done for what the characters are given. Jason Clarke, who plays Dr. Price, delivers his lines naturally and has a wide range of emotions on his face and in his mannerisms. Price comes across as a sharp mind ready to figure out the situation. Though, he seems to do more snooping around than he does actually getting to know Mrs. Winchester's personality at first. It comes across as uncharacteristic of his role and more there to be used as a means for someone familiar in the cast to explore this sprawling labyrinth they're residing in. Then after, it's like he gets a reset and goes back to a more studious mode. Helen Mirren, who plays Mrs. Winchester, also gives this some feeling behind her lines. She transitions from the mysterious widower to a misunderstood person with a backbone of strength and willpower. Those around her respond with a sizable amount of respect instead of resentment towards a stereotypical rich boss with odd tastes and demands.

This purposely starts out light and flows with a natural progression to get to know the characters and surrounding situation of it all. It has its moments and is not going to be a yawning tale surrounding the Winchester estate. Though the tone and story is delivered in a noticeably slick and smooth way. Almost too much so. It's not completely tame, but it's missing the kind of coarse grain and splintered surface that will scrape or prick your finger if you get too close. With as many challenging themes the film presents—such as fear, death, loss, and medicine versus the supernatural—it doesn't always feel that challenging in that regard either due to time constraints to fully flesh them out, and then having to squeeze them in between other scenes. The juggling act of mixing genres and an array of themes didn't come together as seamlessly as intended. Though it's not say they didn't give it their best go, or that it didn't have its own memorable or standout moments.

What's disappointing to me is "Winchester" could have been more powerful of a film. It should have had the potential to be something to return to from time to time. Though it does so much leg work for you that your brain stops searching for different hidden avenues to explore, or even the implications of it all. Still recommend it for a go, but probably not a second.

Rating: 6.5/10

Director: Michael Spierig, Peter Spierig (Undead, Daybreakers, Predestination)
Actors: Jason Clarke, Helen Mirren, Sarah Snook
Info: IMDB link
Trailer: Youtube link

Dark Was the Night (2014)

What you can't see will hurt you

By: JWBM

Instead of being your typical, tongue-in-cheek creature-feature like you'd see on, say, the Syfy channel, the tone of the film comes across as a more serious "The X-Files" episode. Likewise, it does more analyzing of the situation, and also keeps its mysterious villain in the shadows instead of prancing it around town. The story centers around a small time Sheriff clouded by his emotions over the loss of one of his sons and the recent split from his wife. Meanwhile, the Sheriff is set to the task to investigate some odd occurrences around town that are slowly starting to escalate. There are whispers of a local Native American legend, leaving the tight-knit community a little uneasy to say the least.

The story keeps itself mostly restrained than going full throttle. It leans more on the drama side than the horror or action side like you'd typically see with a creature on the loose type of story. Its momentum and scares rely on a share of tight camera angles and sound effects. The what-you-can't-see-will-hurt-you kind of tricks. It seems better suited than its monster being fully in the spotlight. The effects, cinematography, script, and direction are kept to a basic minimum. It does have this unusual monochrome look to it that doesn't necessarily enhance or hinder the experience.

Little pops out here from the usual that's going to last with you after the first viewing—even its drama side is somewhat formulaic. Essentially: man feels he couldn't protect his family, but now has to overcome his fears and do the impossible to save the town. Then again, it also didn't over-extended its bounds to attempt to give you something and not back it up. It's a simple tale that delivers on its own terms and at its own pacing. Some might be bored by that if looking for a more intense experience such as "The Descent," while others might be delighted by the down-to-earth approach here over a slapstick one—e.g.: "Sharknado."

This gives room for the actors to shine and make themselves seem a little more believable than cardboard cut-outs for the writer to set up as just an excuse to obliterate when the time comes for some killings from its monster. Kevin Durand, as the Sheriff, plays a guy who's more action than words. He does what needs to be done, except there's a part of himself that fights back emotions until it gets the best of him. His portrayal is not going to win any awards any time soon, however it still brings a certain amount of effort and quality to the table by making his character more relatable than some over-the-top hero who the average guy couldn't step into his shoes. He's 6' 6" and Canadian to boot. Though looks six feet on camera and sounds like a Yankee. Sticking to original point.

"Dark Was the Night" is a movie for a quick distraction. It's not complex by any stretch, but it's also not trying to be.

Rating: 6/10

Director: Jack Heller ("Enter Nowhere")
Actors: Kevin Durand, Lukas Haas, Bianca Kajlich
Info: IMDB link
Trailer: Youtube link

Happy Death Day (2017)

Nobody likes Mondays

By: JWBM

This is a tale about a normal day that turns deadly for a young, carefree college gal. For anyone else, they would be resting peacefully in the afterlife with an extra hole or two in their previous body. Though there comes the catch. She gets a reset: body back to normal; mind not the same. From there on out, that day—that initially started out like any other mundane Monday—turns into a battle to escape this recurring daymare.

"Happy Death Day" is not set up to be grab-my-heart scary, but instead plays out as fun and energetic. It's like a gateway film for someone who doesn't outright like the kind of horror that keeps you up at night, but doesn't mind a safe mix of mystery and suspense to take the reins. The film has a tendency to flirt with different tones throughout, whether that be light jokes, horseplay, or even venturing to light drama about reconciling. It's not a comedy like "Shaun of the Dead," but it's also not in league with balls-to-the-wall horror such as "Martyrs." It finds its home somewhere in a comfortable, don't-worry-about-the doors-being-unlocked middle ground. It's a well-packed feature that dabbles in the heres and theres without overly concentrating or being outright outstanding in either.

When this isn't being a homage to late '90s slashers with an emotionless, unwavering killer on the
loose with a memorable mask, the other side of this horror tale is a mystery. It uses the backdrop of "Groundhog Day" to replay clues to pick up on. This will make some repeating moments instantly annoying, while others—that are initially overlooked—turn out to be significant pieces to the story. It gives an element of attention to the film that would have otherwise just been a pretty girl being chased by a homely killer. The lead character, Tree—played by Jessica Rothe—does a decent job at carrying the many emotional shifts and turns this film takes the viewer through. She starts out as self-centered and unlikable—from signature eye rolls and sarcasm—to growing and adapting to the experience. It's very much a reactionary movie. One of those root-for-the-character films: the kind you could talk over and yell at the screen with a few rowdy friends.

"Happy Death Day" is an amusing, shameless movie that may get watched once and lost to the yesteryear. But that's the point. This is a slick Hollywood horror film that has all of the bells and whistles without bringing anything necessarily new to the table. The locations and shots are mostly on point. There's no grit or outright savage moments like you'd see in a typical pulse-pounding slasher. One scene easily and gracefully flows to the next. The movie is mostly safe, and you can count on it to be consistent throughout. There's a glaring formula, yes, but a formula that feels tight and worked through. If you're looking for something new that's more playful than it is challenging, this might be up your alley.

Rating: 6.5/10

Director: Christopher Landon ("Scouts Guide to the Zombie Apocalypse")
Actors: Jessica Rothe, Israel Broussard, Ruby Modine, Rachel Matthews
Info: IMDB
Trailer: Youtube

Circle (2015)

Exploring that ingrained sense to exist

By: JWBM

Survival. We've explored this deep rooted human sense in countless entities: from real life encounters; to dramatic tellings of battling nature, and overcoming illness and disease; to just plain entertaining showcases of dressed down younglings fleeing from a homicidal maniac in the woods over a recurring theme song.

Where the spokes of life turn to a different rotation is when someone--or someones--are put into a manipulated game where they must survive in a me-or-you set of circumstances. Unlike, say, "Cube" or "The Running Man," the participants here can't use their feet, solve complex equations or even use hulking muscle to get away--all they can do is use their senses and speak to find out about their surroundings and each other to hopefully come to an understanding, resolution, or just plain save their own skin. As you can imagine, it quickly turns into a bunch of vicious, talking animals in an imaginary cage trying to use the person beneath them to escape to the top, while others are attempting to adhere to a strict moral code to save their sense of humanity and dignity.

Every two minutes--in movie time of course--a buzzer sounds and someone drops to a resonating thud. With the amount of people in one room and little prior knowledge of what's going on it sounds like a chaotic mess, though the filmmakers seem to take a minimalistic approach to balance a specific focus. For instance, a large chunk is dedicated to portraying a tug-of-war with a moral sense and a primal one. It's far reaching, yes, though there's nothing here that is too complex to throw on and get confused by. It feels more like a dramatic stage play than it does a thriller, or, say, a typical survival horror film. There's no nifty camera angles, elaborate sets to explore or explosions a foot. While this does sound sparse, the movie does have its merits and manages to set out in what it attempted to do without too many hiccups.

"Circle" manages to ask some questions and answer a few themselves, though leaves the bulk of them to the viewer to ponder on. Essentially surprises are reduced to who gets taken out/doesn't get taken out, and some hidden truths with participants. In a sense, it makes you wonder what you may have done the same or differently if put in the same shoes. "Circle" attempts to straddle being part entertainment and part psychological/philosophical. Though the movie is leaning more towards the former and isn't something that will peel back layer upon layer each time you put it on. However, it's still worth at least a watch for a bored Thursday night movie with friends over to break the ice and bounce your own theories off each other while it's running. I can see the film also having the potential to be an excellent debate starter. And, who knows, you may learn a thing or two about each other...

Rating: 6/10

Movie info: IMDB

Trailer: Youtube link

I Spit on Your Grave (1978)

When a victim gets their day

The '70s saw an emergence of films with individuals taking matters into their own hands from "Straw Dogs," "Dirty Harry," "Deliverance," "The Last House on the Left," "Thriller" to "Death Wish" about the justice system being too lenient or not being readily available in the most extreme of cases. Citizens weren't trusting "The Man" or those other two-faces that were supposed to be protecting and serving rather than beating and discriminating.

"I Spit on Your Grave," aka "Day of the Woman," involves drawn out rape and excessive humiliation to amplify that point. By the time it's ready for payback, few are questioning whether its means were justified. It makes sense within the narrow realm of the movie, though its black and white, open and shut delivery doesn't always do itself a service because it leaves little to debate or expose deeper layers. Not to mention, it's such an over-the-top set of scenarios that a viewer might just assume it unlikely and move on. Did she ask for it? Certainly not. Was she justified for what she did? With the extent she went through most would say yes I'd imagine. The film lacks subtlety to go either way with those questions and instead clunks a viewer over the head with its delivery, which makes the experience somewhat basic and straightforward and lacking in challenge. The simple directorial approach has a tendency to show rather than tell, but instead of being more interpretive it feels stripped down to the bare essentials: rape and revenge. The first is depicted with some realism in the way power and domination plays a part in the debasing act. The second is purely cinematic in the way it transitions so easily, not to mention with little question and without a hitch. Everything else with the picture leaves little in between. To its credit there are a share of scenes that are memorable for better or worse and it can keep one's attention glued for the duration even when only one aspect happens at a time.

A young and confident woman from New York City named Jennifer Hills rents a summer house by the edge of the river in a remote area a few hours away. She wants the peace and tranquility to write a fictional novel but finds bigger trouble in the thought to be quaint setting with three bored delinquents and their mentally handicapped, tag-along friend. They carry a sense of entitlement, so when turned down they don't just only take but make a point to degrade this city girl supposedly struttin' her stuff. There's nothing erotic or pleasing to be found here for the viewer, just a purely senseless violation of another person in a lonely, desperate state and setting while the audience helplessly watches on for at least a good 30 minutes. Jennifer even has the slow and agonizing walk of shame back, where you think the antagonists are going to collect their thoughts and feel guilty for what they've done, but then proceed to amp up the carnage like they were just getting warmed up. It went from a spur of the moment action to something far more dark and depraved. It feels like a firm decision was never made as to whether they're supposed to be mirroring real people or just making pure cinema villains that are only ever seen on the big screen. The end result gives a little of both: a minimal outline of their lives, but with actions that don't always line up in the way that they seem to go beyond the explanations shown or given.

The performances of the male characters went from being your typical rowdy bunch to missing all relating points the way they're so over-the-top and know exactly what they're doing. It seemed instinctual and predatory to the point of animalistic. The main actress Camille Keaton doesn't shy away from what the film puts her through. She's dragged into the mud over and over again. Some scenes she's standing fully nude with dirt and grime all over. Or in another instance she's being picked up and manhandled with forceful weight on her tiny frame. The Jennifer character has more to reveal at first, in that an independent woman tries to mark her territory and go about her life but has others taking advantage of her outgoing personality when her guard is down. The portion where the revenge takes place starts to lose relating points in that her cold and determined motivations are kept to herself for the sake of cinematic surprise rather than getting to know how she actually ticks. The only area shown for reflection is the repercussions on the victim's family. Otherwise, it makes her stone-face demeanor seem just as equally unfeeling and depraved as her tormentors. Yeah, violence begets violence and no one is the winner. But it causes the film to unfold as a blatant formula: we all meet, you relentlessly torture me without putting up a fight, I torture you without putting up a fight so you could look shamed and humiliated too, the end. Any questions?

This is a daring film for its day, but due to a shallow script doesn't transcend itself to be more than a go-for-the-throat exploitation piece. The biggest command the picture has and why it's lasted so long is that it doesn't hold back in its cruelty. Even completely dehumanizing stories made by sensationalist papers to bring out fear skip out on at least some details. This is essentially the gratuitous nitty gritty that's left out to get even more under one's skin. The camera angles are fully framed without trick photography, that way little is missed. By not including a score but just sound effects made the movie more effective to put one in the direct moment. Rape doesn't need a theme song, now does it?

"I Spit on Your Grave" purposely tries to aggravate and entice a viewer by using a mentally challenged guy, by having no police presence, by having no remorse or regret except from getting caught, by including a former Marine as if it was a cause and effect, by including slightly older guys who should know better, and then by having one of them married with kids no less! The more contradicting faults about the antagonists the better to rile a viewer up, otherwise the constructive arguments that might come about are primarily from the watcher. The filmmakers went in with a message about a female victim getting her day, demanded you paid attention with gross travesties, but then skipped over making a productive point for others, which leaves the audience satisfied in one way on a superficial level but emotionally set-up and manipulated on another. This just feels like a straight set up for a revenge film with simple characters strategically moved around to get the biggest reaction. Decent for what it advertises but otherwise you won't get more out of the experience unless you put in more effort for where the filmmakers didn't.

Rating: 6.5/10

Director: Meir Zarchi
Stars: Camillie Keaton, Eron Tabor, Richard Pace, Anthony Nichols, Gunter Kleemann
Link: IMDB

Death Weekend (1977)

Some men are sly, some aggressive: only a lady can clean up their act

This was a low to moderately budgeted Canadian thriller--from producer Ivan Reitman who would go on to do "Animal House" and "Ghostbusters"--about what happens when road games are taken too far when a group of out-of-control bullies attempt to take advantage of a two regular, working class folks in a remote setting.

A successful but superficial dentist named Harry and his newly met model friend Diane--who's unlike the typical diva that's afraid to get her hands dirty or ready to put out at the drop of a dime--take a trip out to a secluded area to spend the weekend at his cabin by the lake in Canada. Diana takes over the wheel in Harry's black Corvette with a super charger engine and finds herself battling another red muscle car packed to the seats with four rowdy hooligans. Their leader, Lep, sums up what's to come with the line: "You'll get yours baby" as he licks his lips when she gets the best of them. Lacking the education to even spell their name or calculate the total bill for alcohol consumption that day, the delinquents still end up finding the cabin after doing some local terrorizing on the way. There they vandalize the property and play psychological games with their captures as a form of over-the-top payback with no end in sight except to satisfy their depravity and lust.

The more booze they abuse, the more the events escalate to dangerous levels till the victims can find it in themselves to put a stop to the mayhem and terror. Let's just say, when pushed against a wall: don't mess with this chick! The story is pretty straightforward with no subtext or underlying driving point to fall back on except for revenge and more revenge: you mess with me, I'll mess with you. The rape scenes are pretty tame compared to "The Last House" and others that fall more so in the rape/revenge format than this. She's thrown around and traumatized, which is a nasty act in itself, but it's questionable if there was actual insertion. The film still has a certain mood that comes with a share of ugliness to it with arrogant playboys trying to be sly to get their way in the world, to then arrogant rednecks becoming forceful to get what they want out of others. Then there's a strong lady in the middle to put a stop to both at separate times--probably doing the world a favor; like mother nature taking out a small village headed towards destruction.

With the exception of Brenda Vaccaro, playing the part of Diane, the characters are only given simple archetypes with limited range. Despite this, the performers take their parts with a bit of seriousness even when giving the occasional rough-house joke that's usually one sided and at the expense of the victim. "Death Weekend," aka "The House by the Lake," is a film that relies on its interactions and thrills rather than its narrative. On the one hand the events move along steadily and provide enough room to make the woman's actions a little more believable than jumping right into primal instincts as if she was just a caveman yesterday. Though, on the other, from holding back with some reserve it limits the number of exceptional scenes that could have taken advantage of the situation and made this more of a memorable classic. The characters do a few unpredictable things within a certain scene but overall this still feels somewhat formulaic in the larger scope. It's still a movie that a viewer can count on even if it doesn't pull out a number of surprises outside of the boxed-in template.

Rating: 6/10

Director: William Fruet (Wedding in White)
Stars: Brenda Vaccaro, Chuck Shamata, Don Stroud
Link: IMDB

The Arrival (1996)

The truth is out there but closer than we thought

Certain media has come along ranging from "The Day the Earth Stood Still" to "The X-Files" that made it possible for the kooks to buddy up with the crossed-armed cinema goers who are on the fence about intelligent lifeforms from outside of Earth. "The Arrival" is a film that appeals to a wider audience due to its continual action, along with a global message in its wake that affects us all.

Zane Zaminsky, a radio astronomer, works in a job that in real life would be about as exciting as watching cows graze to most folks. Though for cinematic effect, this paranoid chair-jockey catches on to a massive conspiracy theory that the public has not a clue. It's a good thing we have Mr. ZZ flat top to undercover the truth no matter if it might risk him his job, family or freedom. He's a big-screen archetype that's self-sacrificing in his ways and uses his convenient scientific skills to fence off bad guys that range from charismatic to cookie-cutter at every turn.

"The Arrival" on the surface is meant for basic entertainment. Apart from watching the main character figure out all his steps and moves on his own, the only time the brain starts to kick in is towards the latter part of the film with the truth coming out. Locales change and nifty devices are shown with state of the art CGI for its day. Though some of the film mechanics are dated as this is a "movie-movie": something that isn't grounded with real characters and full of events that are meant to look like trial and error but feel guided to go a certain way with the story. Its main perk is its constant traction forward, which makes it feel more like a suspense thriller than a sci-fi/action movie like "Independence Day."

Rating: 6/10

Director: David Twohy (Timescape, writer - Warlock, The Fugitive, Waterworld)
Stars: Charlie Sheen, Lindsay Crouse, Richard Schiff
Link: IMDB

Cowboys & Aliens (2011)

Truth in the title

A memory impaired man (Daniel Craig) awakes with a strange metal shackle on his wrist and a wound on his side. After showcasing hidden skills like a 19th century Jason Bourne on some rough and tough dudes, he heads to the nearest town of Absolution only to find more hassles. He deals with a spoiled, troublemaker named Percy Dolarhyde (Paul Dano), who's father is a not-to-be-messed-with head honcho of sorts. Percy lands in jail and soon enough the man with no memory ends up in the cell next door, as he turns out to be the infamous Jake Lonergan who has a rap sheet longer than the Oregon Trail. When Woodrow Dolarhyde (Harrison Ford) gets word of his incarcerated son, he storms the streets with his cowboys. Right before a tense showdown, the alien part of the equation shows to make things go boom and people disappear. Jake's bracelet suddenly turns into Mega Man status and he blasts one of the ships down with an energy beam. The creature that operated the vessel flees and they round up a posse to track it back to where their kidnapped loved ones are.

"Cowboys & Aliens" is more about the journey to the final showdown involving various characters that it incidentally never fully scratches below the introductory surface on. It makes a few of them at times more plot devices than natural, especially the woman who feels penciled in after the fact to conveniently solve or perpetuate Jake's issues. Along tags a bartender who's more business than brawn; a mysterious woman who eyes Jake; a practical preacher who knows how to pray and shoot; a young boy who's not yet a man; a loyal Indian who looks at his boss as a father figure; and the former colonel Dolarhyde who's got a thing or two to teach the youngins about battle. Now, where westerns in the past had everybody out for their ruthless selves, this uses the enslaving extraterrestrials as a means to get along for the greater good of humanity, including fierce outlaws and warrior Indians who are in the same dire straits. In the meantime, no one ever claimed the abominable aliens didn't have punctuality as they make a few well-timed appearances to the point of predictably just before a human vs human conflict is about to get all gun crazy. Though like throwing a rock at a tank, these basic, booze-drinkin', boot-wearin' westerners look to be completely overrun and overwhelmed. That is until they have to get sneaky and use strength in numbers to put a stop to the aliens, which at this point are so one-dimensional the movie plays out like an easily sold good vs evil template with nothing left over to put in the bank to accumulate interest.

This is more the former than the latter of the title. The western portion on its own isn't groundbreaking to the genre, and the sci-fi side isn't inventive enough to blow the lid off a long time fan, even if the combination is definitely original. Other aspects to fall back on like the pacing can feel like it revs the engine, then levels at a lower gear. This wouldn't be such an issue but it's not that contemplative of a film to hit the locker room in between for a break, and as a result creates a building list of questions from the viewer that never end up answered about certain plays. It's a film that treads more on mystery when it comes to its antagonists, by at first seeing a shadow, a claw and then a quick full frontal, as well as it only gives little snippets of information for the viewer. Problem is, it doesn't create that intriguing enough of creatures to pull the enigma off--no communication, no interaction with each other, very few distinguishing elements with behavior or appearance--or even go further into why they're on Earth other than laying out a questionable reason at face-value.

Daniel Craig played a simple but commanding presence, as he said little but when it came time for action delivered with full force as if he meant it, and then some. It causes you to focus in on him to not miss his next move, despite getting knocked about with a lesser blow or two on occasion. Clancy Brown plays a memorable role as a tough holy man that adds humor to the situations, but Chris Browning includes cartoon flavor with his crusty chompers and oafish demeanor. Paul Dano, as much as he tried and has the most range, his performance felt misplaced as if he's a tortured man rather than just a fearful kid with no perspective from growing up safe and spoiled. Harrison Ford's character is built up and built up, with other people making not only a legend of him but a power not to be reckoned with, though by the time it comes for him to show his stuff, he falls somewhat short on punch. It's a shame that some of his gruff lines come off as unflattering imitations rather than truly compelling. On an entertainment level, you get massive explosions, O.K. Corral-thumping gun fights, built up thrills, mystery, situational humor, potential love, tragedy, resolution and you get to see two separate genres at the same time. It sounds like a lot, but it didn't always come one after the other or always in a smooth, edge-of-your-seat transition together. The mentioned certainly made this enjoyable and an interesting concept to see but unfortunately it wasn't capable of thoroughly traveling beyond expectations for such a cool premise even with all the budget and all the talent it mustered for a central goal with two contrasting but potentially complementing sides.

Rating: 6/10

Director: John Favreau (Made, Iron Man 1 & 2)
Starring: Daniel Craig, Harrison Ford, Keith Carradine, Sam Rockwell, Paul Dano, Olivia Wilde, Noah Ringer, Clancy Brown
Website: IMDB

Wyvern (2009)

Turning up the heat in Alaska

A large creature awakens from its slumber in a glacier after temperatures warm near a northern Alaskan town called Beaver Mills with a population just over 300...and slowly dwindling. After a serious of deadly accidents in the woods the Chief of police holds a town meeting to report that a predatory "something" was seen flying through the air to everyone's disbelief and annoyance that the town's festival is threatening to be canceled as a result. Speculation is in the air and nothing's set in stone just yet until that something makes a surprise appearance in the open at the worst time when everyone's exposed. It's called a "Wyvern": a dragon from Nordic legend that feasts on a bottomless pit of men's flesh.

The story is somewhat loose after the creature appears and makes everyone scramble in a panic from not knowing what to do till more of a game plan is implemented from learning its weaknesses. They wing it, so a few coincidences come up but these are made out to be real people instead of instinctively combative or over-the-top cinematic by doing complex and impossible maneuvers. Communications are out, escape routes are blocked and for a share of the film they're desperately held up in the diner in the center of town hoping to outsmart an age old beast that only knows how to do one thing: kill. The creature has a one track mind but still keeps it a challenging sport the way it manages to pick off people by hiding and lunging out or adapting the way it hunts.



The atmosphere is somewhat light with its thrills and kept fun than overly serious or nail bitting tension filled. People are killed and the reaction is: "Do that again! But next time bloodier!" Though once the group gets narrowed down to a select few, this reveals some quirky characters and light hearted situations to personalize them. Nick Chinlund, who plays Jake the former truck driver/main hero, managed to pull out an effectively moving scene amongst the playfulness and carnage about his past and what it means for him to stay in the small town. Erin Karpluk, as Claire the waitress, is the second lead with an eye for Jake and an easy going but tough attitude when it calls for it. To its benefit, the filmmakers managed to put together a cast that an audience doesn't mind becoming familiar with for the entire duration. There's the perverted female deputy, radio DJ, old redneck with tales of legends, war veteran who likes his guns, batty old lady who imagines people and others that come and go. The performances are mostly spot on, with a few hiccups here and there, though they still manage to take the movie with measure despite the premise being somewhat outlandish.


"Wyvern" is an easy made-for-TV movie that uses a template that's been done before and knows its plot is ridiculous. Yet they don't even try and hide that fact by taking it too somberly to the point of stepping over its worth or making it overly dramatic. It's still a sincere delivery that's enough to maintain a steady pacing and some charging power that one can get engaged in for a simple bored afternoon diversion where monsters are terrorizing poor, unsuspecting souls and you're sitting comfortably in your living room with a bowl of popcorn.

Rating: 6.5/10

Director: Steven R. Monroe (House of 9, It Waits, Left in Darkness)
Stars: Nick Chinlund, Erin Karpluk, Don S. Davis, Tinsel Korey, Barry Corbin
Link: IMDB

Forget Me Not (2009)

Friends: till death do us part

A group of overindulgent teens are living up the party life after high school when they decide to return to the cemetery they used to play a spooky but innocent game at. One person pretends to be a ghost, while everyone else hides and then once caught that person turns into another ghost to go after the rest--last one alive/not tagged wins. There they meet a mysterious girl their age who wants to play, only to be seen jumping over a cliff by another girl named Sandy as soon as she won. She's nowhere to be found, until she shows up to take out those that awakened her in a series of gruesome accidents where each person that she kills everyone else forgets all except Sandy. There are some flashbacks to when Sandy was young and had a bff named Angela who she used to exclusively play with until boys and other more adventurous kids entered the picture. This starts out with some fun and games until Sandy starts to crack up and go into hysterics from none of her friends believing her while certain aspects of their lives get altered like a butterfly effect once someone else is removed from the picture.

This is treated like somewhat of a formula where the bad guy systematically takes out screaming and confused victims that don't have a fighting chance to save their own skin. Once the villains show up, you know their fate is sealed. Like a slasher film: what's going to happen to the characters is predictable but how they get it just before that point comes with some variation. A share of the attacks occur in an isolated or cornered area away from their friends, which makes nowhere safe including walking around in broad day light. Though the only character aware of that is Sandy--even then it's not all put together yet--while the others go about their merry way none the wiser which takes away some of the imminent danger and omnipresence of it all. They're superficial characters that represent a pretty face and body that live life on the edge and in turn get knocked off without a care except for the waste of genes. These are some strange and somewhat unique looking villains--a blend of CG and make-up--that shake, twitch, growl and hiss with gaping mouths and sizable teeth. They don't seem inherent to this particular story but that might just be to keep the viewer from being able to wrap their head around them.

The cinematography, with a crisper picture quality and some wider angles, makes this seem higher budget than it really is. The cast interacts somewhat naturally with each other like they could really be friends, even if they only come with a general outline and limited range: macho/slutty/drunk/high, then for a short period yell, plead or scream when their time comes. The underlying story is a neat idea itself about promises as a friend and then redemption for those that have been slighted in a highly elaborate game of pay back and revenge. Not to mention how it circles back in a roundabout way was an effective twist. What's disappointing is the concept is only taken so far when it doesn't have another driving point apart from including a share of filler scenes that show how these kids live on the wild side. It could have been more effective if they were clued in or have significant reasons to separate from the group and put themselves in danger than accidentally walking into it. Or show that they are more than mere acquaintences. Neither does it make this as thrilling as it could have been when the characters don't have much going for them or little to look forward to even when out of school. The expression "the world is yours for the taking" only took them as far as their parents' wallets, then over to the liquor and condom aisle at the local gas station. Are they missed? Probably not.

Rating: 6/10

Director: Tyler Oliver
Stars: Carly Schroeder, Brie Gabrielle, Cody Linley, Jillian Murray
Link: IMDB

Coffin Rock (2009)

The simplest answer isn't always the easiest answer

A couple, Robert and Jessica, near the coast in Australia, have a large house and established business to their name but want to fill in the whole picture with a child before biological clocks run out. The wife is enthusiastic but the husband feels some shame from his boys failing to swim the channel home. They go to a clinic to check sperm count when the receptionist, Evan, takes a liking to Jessica from a distance as she waits in the lobby. He travels to their little fishing village and blends in with a job at the local crayfish factory. She's a simple but outgoing small town woman in a largely male workforce who's only dealt with the occasional jerk in a bar. Evan acts imposing towards her all the while berating and muttering to himself. Soon enough he waits till she's drunk and emotionally torn with her husband and they have a spur-of-the-moment quickie.



She flat out states her regrets for their brief entanglement but Evan quickly turns emotionally attached to the point of obsession. It's more than just puppy love but some kind of psychotic abandonment issue, along with volatile tendencies of anger. Jessie has a conundrum on her hands, as someone else spied the incident, she doesn't want her husband to find out and she's now pregnant with the strong possibility Evan's the father. Robbie sees that she's pregnant and gets their friends and family excited over what he assumes is his. Though the best news turns to the worst as Jessie is getting shaken up with random visits from Evan that are getting more and more dangerous with not only herself but loved ones caught in the middle as well.

The film turns over to the destruction of relationships with one side worse and far more calculative in their deceit than the other to the point of a cat and mouse game looking like the former animal upgraded to a starved lion. It makes the experience more depressing than a challenge to correct what went wrong or coming with something more to leave with for contemplation for the audience besides the obvious: I'm not going let that happen to me! It was strange to set the tone with some authenticity, only to then turn over to an over-the-top, somewhat straightforward psychotic thriller of the cinema invention kind. It made the story go from marching to the beat of its own drum to producing shuffled around scenarios that only come with the territory of the genre.

The movie gives little to grab onto in the downward spiral after tentatively going through the messages of trusting strangers too soon and cheating aspects. It makes the experience harder to watch as it shifts more and more over the deep end with little fighting chance in sight to the point of begging, squirming and pleading of the lead actress. Not to mention, the motivations, as kooky as they are, aren't always outlined--such as the initial hookup being jumped into like an everyday thing, or why others were terrorized or made to suffer. The film creates some fear of the what-if-it-happened-to-you type, though momentarily grabbing your chest from the possible what-if compared to actually watching it play out are two different things. It turns into one stupid move after the next when more than enough opportunities are presented that are usually of the simple communicating kind. Honesty versus hurting someone? This was more than just a little case of irresponsibility.



As a thriller it's paced well enough and there are still some scenes that carry tension, some here and there memorable quality and an uncomfortable feeling as she gets stalked and pushed against a wall with an omnipresent breath in her face. There's a different range of emotions used as the story progresses from, Lisa Chappell, as Jess, being the regular, easy going woman and supportive partner at work and at home, to then trying to get out of a mud slicked hole with her hands behind her back. I'm disappointed that they didn't make her a little more tough with her above average height and confident ability to work side by side men in the town. Sam Parsonson, as Evan with an Irish accent, definitely takes a few of the scenes all out and manages to create some distinctions to his personality that come with a few unpredictable situations of what he'll do next. This gives room to make the characters and the setting carry some realism--even starting out with light drama and their day to day lives, some humor and raw innocence--though it still carries some melodramatic and exaggerated scenes past a certain point to up the ante and make it more of a cinematic experience than something that you'd actually believe could happen.

Rating: 6.5/10

Director: Rupert Glasson
Stars: Lisa Chappell, Sam Parsonson, Robert Taylor
Link: IMDB

Yoga Hakwon (2009)

Beauty at a cost

This takes over the spot for the strangest movie I've seen involving yoga. The last contender of "Kung Fu vs Yoga" included dislocating limbs and thought-to-be-impossible moves against traditional martial arts. "Yoga Hakwon," on the other hand, is a supernatural horror-mystery from South Korea that involves a group of women who want to achieve even more beauty than they already have. They're so blinded by vanity that the light at the end of the tunnel they perceive is really as dark as they come.

A woman named Kim Hyo-jung is caught up in the superficial world around her, whether it be selling lingerie on the home shopping network in Korea or dining out with acquaintances who are moving up in the world whichever way they can. There's a side of her that wants to be genuine, though currently the pressure of her friends' influences causes her to reevaluate her life. She throws a tantrum at her nice and laid back boyfriend and then gets fired from her job due to the other female co-host being more attractive than anything else. She confronts a woman named Sun-hwa who said it was out of her hands but then recommends a yoga studio owned by a secretive woman named Kahn Mi-hi--who was a former actress known for her beauty but carried a terrible voice--that might be able to help Hyo-jung with an intensive training class. So far so good...

Their instructor Na-ni tells them about a strict set of rules involving outside contact, mirrors, unauthorized food, showers and the usual confidentiality agreement. They put full trust into this unheard of studio without even a sign out front, only to act selfish towards one another to win a process involving seven chakras and a Kundalini that leads to perfectly balanced beauty that only one of the select ladies can achieve. "They say that she opened up her Kundalini..." was a line intended to be mysterious but not translated with the best sounding interests. By the first lesson it's evident they're in some kind of dark cult with supernatural powers over their new followers that cause them to perform complex yoga moves in a trance and fall victim every time they break the rules that were thought to be just for show. South Korea becomes even smaller when Hyo-jung's boyfriend gets linked up when visiting a director named Kang who casted Kahn Mi-hi, the owner of the Yoga studio, in his movies. He's not sure where his girlfriend went and proceeds to investigate, leading him to a story involving a tragic incident that happened on a movie called "Shadow of Youth" where rivals Eun-shil and Kahn Mi-hi played opposite.

The major strength of "Yoga Hakwon," or "Yoga" in the US, is its mood and some built up scares that are more abstract than logical. The yoga angle starts to show its limitations where a share of the film takes place outside of the studio setting, only to kick it up and save a share for its highly atmospheric closer that effectively plays on surface sensations no doubt but also needs footnotes to make sense of. Before that point other threads are introduced to compensate or to divert your attention. This jumps back and forth with a variety of story arcs but ends up moving around so much as to lose context. Some of the transitions seem somewhat awkward, at times overemphasizing areas and in other portions underemphasizing; like they're dressing up a simple scene to be more than it actually is but throwing the audience off as to which is which. Should you look into it more or less?

The movie is incredibly enigmatic about its references and situations to the point of confusion. Some of the exposition is a little backwards in that it will go through a certain scene with a vague amount of information, then after the fact drop a line that explains what was going on. Despite, this is drenched in atmosphere with darkly lit sets that have a cold and ghostly look with certain camera angles getting full use out of them. In some instances there are no reference points to brace yourself on to the point of feeling like a general haunted house where anything can go. It's a film that isn't entirely sound but delivers some memorable scenes and an uncomfortable feeling nonetheless like any decent horror film should. The performances carry some charms, with some possessing more of a captivating look to others adding a little quirkiness.

The effects are pretty effective looking with anything from slashes materializing on a neck to producing festering boils. There are also situations that blend CGI for more complex situations such as swiveling bodies that would make an owl jealous. The premise still gives room to think with how you're viewed in other people's eyes: how some try and live up to other's expectations, while the more comfortable of us act ourselves. Yep, being content munching potato chips on the couch never stopped anyone, yet others have to do something about it to the point of obsession and ruining the beauty they once held onto.

Rating: 6/10

Director: Jae-yeon Yun (Whispering Corridors 3: Wishing Stairs)
Link: IMDB