Camp Hell (2010)

Doesn't the Devil have anything better to do?

A young man named Thomas/Tommy is going to summer camp in New Jersey, not just any summer camp, but a religious one in the name of the Lord Jesus Christ. There are enough rules in place to almost make the campers temporary nuns and monks for what's supposed to be their carefree, once-in-a-lifetime vacation that everyone else at that age usually partakes. It's the time of raging hormones and rebellious tendencies, so temptations are going to come up in the youngster's minds. Instead of the adults leading by example, they use harsh scare tactics. That place is Camp Hope, but to the attendees it's more like "Camp Hell."

This is a mess when it comes to exposition, foreshadowing, mystery, pacing--you name it. Its idea of atmosphere seems inconclusive with outlining its plot, and also intrusive either with abrupt music or visions tacked on almost as if it was an after thought. Who knows? Maybe it was, because this must have been hell to market--hence the presently popular actor in a cameo only on the cover and their camp shirts stating 2006/2007 despite the release date of 2010. After awhile it makes you wonder what and where the focal point is. Are they bracing me to be fearful? Scared? Worried? Intrigued? Looking for relating points at the time of teenage angst? If it wasn't for the preview I saw earlier, I would have thought I picked up a different movie than intended. Eventually it gets around to Thomas explaining about his demonic dreams. Their camp leader, Father Phineas, tells of another that experienced visions before and ended up in a mental institution. This is Jesse Einsenberg's small bit part in the beginning, and then "poof."

Before that they go through spiritual exercises and give learning lessons. It's hard to say if there is a kind of tongue-in-cheek humor at first since the people are the epitome of dedicated to their cause. You have different characters among the boys: the blind followers, the smart alecks, the believers, and Tommy: a shaper--someone who everyone around him wants to mold like putty without always asking him what he feels first, or lambaste him when he actually expresses himself. Being absent of the things they normally do for fun leads to pranks and scary story telling to bide their extracurricular time, apart from the evil-less sports, spiritual singing (down with rock music!) and dancing they do on their own. Forbidden love is on the rise between Tommy and childhood friend Melissa. When you finally think things have kicked into gear or turned for the worst, it becomes a little teaser. Though at least you know that some kind of bad guy is laying in wait. To what purpose? They still don't give that up till later, with more waiting in the process.

For what it's worth, the acting was adequate and was able to get itself across without being distracting, though it still doesn't overcome its other setbacks or put this into a better light. As a horror movie or a film going for atmosphere, or even a drama or whatever it was trying to be, it falls short on defining and unraveling itself, leaving the viewer to frustratingly guess, speculate and reach. I'm not a gambler, but I'd be willing to put money down that this was written with the ending first and gone backwards from there. Somewhat shocking depending on which side of the fence you stand, or possibly an eye opener or a statement no one is willing to say, though everything before it wasn't worth the wait and tedium of getting there. It felt like a hyped up amusement ride with too much clutter (people in front of you), and then an actual experience that doesn't live up to its climax. This attempts to build up to a "something"-lurking-in-the-shadows type of movie, except it leaves the audience in the dark half the time that there is something even there or even why it's there for that matter. Scared? Well...of what? They might as well have dropped the background horror fodder and made this a drama because it might have made the experience less frustrating trying to figure out its "mystery" element or message in the mean time.

Rating: 2.5/10

Director: George VanBuskirk
Stars: Will Denton, Bruce Davison, Valentina de Angelis
Link: IMDB

Devil (2010)

Coming to an elevator nearest you

A lot has already been said about M. Night Shyamalan falling off track. Though I won't go into that because this review isn't going to be about ulterior motives or posturing as I like to view films in case by case if possible. This time around M. Night steps away from the director's chair and is only here as a producer and for the story, while leaving the rest up to another scriptwriter and the director of "Quarantine." Point being: whatever combination is here of who does what, it turned out to be an effective PG-13 thriller/horror/mystery like "The Skeleton Key" and "Drag Me to Hell" in the last decade as the pacing is snappy and the attention grabbing mysteriousness of it all--despite the premise being told outright in the synopsis--is maintained throughout.

"Devil" plays out something like "Clue" mixed with "The Devil's Advocate" on an elevator with shots outside to give a breather that deal with crimes and the supernatural. I was wondering how they would do a plot where the Devil is in an enclosed space with only so many others and then keep the viewer from being able to figure it out till the end. Now, that's a challenge! This is my third viewing and part of that surprise is lessened but the rest of the experience works notwithstanding as there's a certain unfolding atmosphere along with intriguing and suspenseful scenarios in the meantime. They tweaked what you'd anticipate with the right casting and came up with some interesting ways to pass the time, such as the detective reading into the clues as well as the horror angle where the lights flick off each time someone gets it till they can be possibly saved and get out. This is an 80 minute feature that doesn't dive into a lot of back story that stretches outside of what it presents, but it gives enough to understand the rules and feel for the interaction. What helps at first is this was narrated over top in select areas by a religious security guard experiencing the events with a theory to it all that alludes to the Devil hiding amongst us like a wolf in sheep's clothing to torment a set of humans from time to time. Some lines of narration seemed a little intrusive when what you're seeing is descriptive enough, and the fact that this is an in-the-now thriller and shouldn't have to look back instead of progress forward is reason enough to halt the obvious after a certain point.

A person falls to their death in Philadelphia and a detective who's having breakfast with a sponsor from still getting over his family getting killed years earlier, is called in to investigate. Something doesn't add up about where the victim landed and it leads him to a much taller building. Meanwhile five people enter elevator 6 on building 333 and it suddenly stops on its own in inspection mode. There's some humor at first and idle talk like this is just another day with only momentary problems to fix. The maintenance man tries to get things back on track as the security officers use a loudspeaker but the elevator passengers can't be heard back in the control room. The doors won't pry open and they're in an awkward spot to climb. After the lights flicker and go out someone gets injured but no one knows who did it. The detective investigating the death outside is called up by the security officers as they now have a real situation on their hands. It plays on a certain claustrophobia with used air, people you don't know and somewhere you don't want to be, then with only four walls and no place to go up or down, the film amps up the intensity as more suspicious accidents happen with nasty sound effects to hear for it. It's best to watch this one without the lights for that effect.

Even an elevator full of people with a shady past can't stand up to the Devil. The King of Lies is going to be manipulative, tricky, sneaky and without compassion. That also includes innocent people that get caught in the way when attempting to hinder the Prince of Darkness' plans. Something seems too coincidental to the check-everything-twice detective at the same time of juggling to save their lives. From the control room's perspective, it could be interpreted both ways, as crimes being committed with motivations from each of the passengers having skeletons in their closet, as well as something possibly supernatural. For a story about the Devil there's some redemption, which is so unlike Old Nick not to jive. Though I'm sure there are rules to follow and an order to maintain on Earth. Chris Messina did a believable job as the confident cop and Logan Marshall-Green showed some adaptive range for both sides of possibly being innocent and guilty, though the others can go from hit to miss. In another sense they're mostly effective to the story in that you aren't meant to share a closer connection to these people with a shady past, but watch it for the unfolding experience. I guess there's a moralistic message here with that sentiment and I can imagine that might turn off some depraved horror enthusiasts who want Satan to be as cruel as possible and the picture not to come with a message.

The cinematography was definitely sharp. The opening shot with the city upside down was a nice sinister touch on what seems to be a normal place. What's a refreshing change with this picture is it doesn't have a time stamp in your face. This feels like it was made like an old style thriller: not overly advanced in technology, includes traditional music that adds an ominous tone and moderate filmmaking techniques, instead of making this hip or a promotional stepping stone for a certain actor or filmmaker. "Devil" has a tight script, consistent pacing and direction that makes this a steady and mysterious experience that I'd recommend with a bowl of popcorn and possibly the Holy book handy for those with jitters.

Rating: 7.5/10

Director: John Erick Dowdle (The Poughkeepsie Tapes, Quarantine)
Stars: Chris Messina, Logan Marshall-Green, Jenny O'Hara, Bojana Novakovic, Bokeem Woodbine, Geoffrey Arend
Link: IMDB

The Devil's Advocate (1997)

Guilty of a crime? Call 1-800-LOMAX

We have a specific representation in our minds of detecting the Devil and his minions. Psychologically it makes it easier to where a "bad guy" is seen just as that. The film has some demonic imagery but mostly breaks those molds that come with red skin and horns, to creature-esque wood cuts and Gustave Dore paintings, to here with the Prince of Darkness hiding amongst us in the modern day in a position of power. Old Nick walking around in human form makes him that much more effective in manipulating us into believing he's just a man of earthly status and, of course, with a following (legion) behind him. Because where would he be without people to use, a deep sea fisherman off to solitude? Not likely.

This was released back in October of '97 in a month where straight horror films are usually placed. Though this brings back an old thriller feeling from the '60s/'70s with a gradual pacing, absence of technology, orchestral music and a concentration on characters rather than flashy filmmaking techniques. Watching this back in the late '90s and now doesn't make it feel aged, as there's nothing directly reminiscent of the year it came out with the exception of the new millennium approaching and paranoia on the rise. Hence films such as "Stigmata," "Fallen," "End of Days" and even on TV with "Millennium."

Kevin Lomax (Reeves) is a defense attorney in small town Florida who represents a teacher that's accused of inappropriately touching a teenage girl after class. It looks like a bust as the girl is testifying with such conviction and the teacher is sweating from the palms. Lomax takes a short recess. He's made an unbeatable string of wins in the courtroom and doesn't want to let this one go despite morals and doing what's right eating at his conscience. After some snide remarks from a reporter, he's back in with a devilish grin and a persuasive defense. In the after party, Lomax is approached by a man with a proposition to go to New York to select a jury with the incentive of a large sum of cash that he can't pass up. His devoutly religious mother, who was a preacher's daughter, gives him some advice that he's heard before: "Let me tell you about New York. Fallen, fallen, is Babylon the great. It has become a dwelling place of demons." Off he goes anyway with his wild and ecstatic wife Mary Ann (Charlize Theron).

The hot shot lawyer has an unstoppable combination: he's got the sharp looks and an acute intuition about reading people. They gradually give him more and more responsibility, while the head of the firm named John Milton (Al Pacino) keeps a close eye on him. Pacino captures the frame every time he enters as a charming man who you're never too sure about his motives. Lomax is brought on as a criminal lawyer and offered substantial perks that only partners usually get. What at first looks to be a premise for a John Grisham novel takes a shadowier turn. They don't represent people because it's just or that they can truly help them get out of a misunderstanding, they do it for capital and connections to make their business even larger, like a weed that grows, intertwines and infiltrates all that come in contact.

A deceptive world is set up with grinning, posturing, money-centered people that offer temptations at every turn. His wife gets sucked into the riches and power, but is a little more gullible from the simple life she had back home. She's bored and lonely as her husband's job comes first and foremost. Though she starts to see something truly dark: an invisible aura that gives off unexplainable bad vibes. Her husband says it's the change but he's too busy to put all of his attention towards her, including getting the opportunity to work on a huge case that represents an extremely wealthy client. From thinking he's on an uphill battle, he's got to fend his way back down again when his wife is in danger and some revelations come out about who all these people really are around him.

"The Devil's Advocate" goes to show how often we look the other way. In the smaller scheme of things we compensate to do something that either goes against how we were raised or what we truly feel underneath from other perks and okays from higher ups and friends. There's a sort of tainted philosophy here that even cult leader Jim Jones used in the Peoples Temple. He would overwork his followers, making them have less time to think, and then control their income on top of that. Jones would set up living quarters that even included their families to where he could keep an eye on them. Every egg in that person's basket was invested in their leader without them necessarily noticing it. The question is where is he going to lead them? If a few things thought to be wrong happen, does that person look the other way because other aspects look so good? If they take the chance of speaking up, all of those things worked for that seem important can be taken away and then a fear of being ostracized from the group happens as well. This doesn't come with the physical abuse and forced actions, as the Devil is physically in front of said person but essentially the Devil is in ourselves as he just gives advice--very convincing advice that's as old as the idea of picking apples. This is a story that shows even wily lawyers might have limits beyond temptations.

What made this movie come together and be more than just a supernatural tale going for spooks and scares, were the performances. Yeah, Reeves' southern drawl comes and goes but he's got the look and feel of a cocky lawyer down to his tailored suit and slicked hair. His court room appearances, while including poetic license, also capture just how much of a sneaky wordsmith his character is capable of being. Not to mention he's capable of stepping up in the stages he goes through. From "The Godfather" to "Scarface" Pacino performs as a born leader. Instead of just delivering a single tone or playing it reserved with a certain look, he gives the role versatile flair with an amount of humorous irony in his phrases and added mystery that you can't always put your finger on despite having a share of dialogue. "I'm a surprise... They don't see me coming." There's a built up heated debate in the film that just shows you how he crafts each one of his deceptive words to nearly make you believe in them yourself. The film comes with a certain atmosphere that doesn't have shocking blood and guts of a normal horror film, but it's still effective in that it gives off an uncomfortable feeling in trapped scenarios it presents the deeper it sucks you in.

Rating: 8.5/10

Director: Taylor Hackford (Blood In, Blood Out, Dolores Claiborne)
Stars: Keanu Reeves, Charlize Theron, Al Pacino, Jeffrey Jones, Craig T. Nelson
Link: IMDB