Modern Horror Series : It Follows

It’s Behind You

Released : February 27th 2015

Certificate : 15

Director : David Robert Mitchell

Cast : Maika Monroe, Daniel Zovatto, Keir Gilchrist, Jake Weary, Lili Sepe, Olivia Luccardi

Plot : After an innocent sexual encounter, teenager Jay (Monroe) is told by her partner that he has passed on to her an odd curse, in which she will be followed by an entity.

2014 was a big year for modern horror, with three standouts gaining big critical (although not box office) success. Those being, A Girl Walks Home Alone at Night, It Follows and The Babadook. It is rare, given the amount that fly under the radar, for a horror film to be praised by critics, and each of these films was for very different reasons. It Follows got noticed for both its indie vibe as well as its retro feel and setting, with homage paid to both the set design of the classic 1970’s slasher horror film as well as the style of filming. Directed and written by David Robert Mitchell (a filmmaker famous for little else) made a unique film, not only for the reasons listed, but also for the ‘monster’ of the film as well as the imagery that is used.

It Follow is full of imagery and style the reference many classic films, Halloween being a standout. While the directing is unique from Mitchell, the music score, the 70’s setting, the blonde and other aspects all reminisce of the classic horror film. From just this alone, it becomes clear that some a lot of thought has gone into the film from Mitchell’s end. Just as Carpenter in Halloween introduced the use of in depth and out of depth and movement in the corner of the frame into the horror genre, Mitchell plays with it both in his directing as well as pure nature of his monster (an anonymous being that audiences scan the frame to spot in scenes). The way the film has a close nit set of friends who are young and deal with the issue also brings in elements of many 70’s and 80’s classics. The imagery that Mitchell uses as well, although may be obvious and clear in meaning, are enjoyable to have present as it is rare that a director in this genre takes the time with such qualities. What all this amounts to, and is clear from the very opening sequence of the film, is that Mitchell is very skilled director who has thought out this little project of his very well.

Due to such skill, It Follows was able to create genuine scares without the use of much blood or a monster as such. This is a very rare feature of horror films, where the way in which a scene is presented, rather than what is being presented create more of the scares in the film. It was a quality achieved in Halloween, as it was just a man in a mask, and is again done so here, as it just a person following you. So above all else, It Follows was elevated to the level of prestige that it was due to its directing. As to the storyline, which the imagery suggests, there is a theme of innocence, and the loss of it that come with growing older. While the film doesn’t attempt to make a bold point about this topic, in horror films this is something that is repeated. In the slasher films revolving around teenagers, the sexually active ones are killed off first, and It Follows seems to play off this convention as its main theme.

It Follows isn’t a horror film for everyone for the following reasons. Not every horror film fan will appreciate the directional choices such as the imagery and the intertextuality that takes place. Also the story structure, which is basic on dialogue and characters, and could be labelled as repetitive at times as that characters continuously run away from ‘the following’, may result in a bore for some. But for people who appreciate the artistic craft and execution over a flasher ‘fun’ blood feast, they will have a very special time.

Verdict : A very unique horror film which has a great level of freshness to both its story and directing, providing genuine scares and a great atmosphere throughout.

Verdict : 4/5

Quote : “It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you.”

Modern Horror Series : Howl (2015)

British Werewolf on a British Train

Released : October 16th 2015

Certificate : 18

Director : Paul Hyett

Cast : Ed Speleers, Holly Weston, Elliot Cowan, Sam Gittins

Plot : A late-night train breaks down in a wood, where a werewolf circles.

This is one of the most conventional horror films around in recent years, a straight to DVD film about people being eaten by werewolves on a train. These films have always been the bottom of the pile for the horror genre, but it recent years especially there has been a huge surge in the amount of moderate budget horror created. Most of which doesn’t make it to cinemas and is lucky if it gets a spot-on television. But out of this vast abyss of corny horror films, Howl managed to scrape a 70% on Rotten Tomatoes, miles ahead of most of ‘these’ film types.

First off, as with these generic horror films, they are extremely predictable and Howl is no exception. You can guess the people which will die early on within seconds of them being on screen. The biggest reveal this film has to offer is the surprise that there is more than one werewolf. Also, these films rarely have imagination to the direction, with the age-old point of view shots from the creature’s looking at the victims through the woods. Howl fits with this as well, with Hyett (Howl being his most famous picture) using his fair share of the troops. The acting as well will be often, terrible, Howl manages to maintain a mostly acceptable level across the board. And the writing could have been done by anyone, with characters making the poorest decisions and character archetypes of the genre being used fully. But surprisingly Howl manages to be an entertaining film, as when a film fits these conventions like a glove to a well-executed standard, and has enough budget in the special effects department, it can be irresistible.

The horror genre is one of the most successful genre at creating bad films, which make a good time. The film’s enjoyment can be mirrored by the style behind of special effects. When you finally see the beast, it is so over the top and borderline laughable, that you simply suspend all rational thoughts other than to just be entertained by the carnage. There is something extremely entertaining about a film which executes this style with fair levels of skill, harking back to the genre’s early years such as Friday the 13th. Films which knew that the sole pleasure that they offered was the thrills, chills and laughs and watching one character at a time being gruesomely dismembered. This is exactly what is offered by Howl, and the only aspect that makes it work is plenty of action and predictability and solid special effects department. The reveal scene of the first werewolf in all its glory comes unfortunately late in the film, but as you can see when you google the film, is such an odd spectacle that it’s just enjoyable.

It’s very easy to be critical of films like this, and any criticism that are made could be just as easy applied to any straight to DVD horror film that came out in the last 10 years. The only unique criticism that could be thrown at Howl is that the werewolves, don’t look like wolves. But this film can serve as a great guilty pleasure film, if the mood is right you can relish the violence and the cliché nature of the film type. So, Howl manages to separate itself from ‘the rest’ by the following. All the clichés are meet, which would usually be a drag but when they are done in such a (overall) visually well executed manor, with a great batch of monster to boot it offers great fun. Most likely the film isn’t worth by many people’s standards the price stage of the Blue-ray copy, but it’s a good bonus as well.

Verdict : Have fun in watching an classic style of horror film executed just as badly as all the rest. But with a lot of blood and hilarious monsters it’s a fun guilty pleasure.

Verdict : 3/5

Quote : “Bear’s don’t Howl”

2015 in movies: Anna’s top ten

2015 is rapidly drawing to a close (hello, the future!) and with the end of the year comes the irresistible temptation to look back and assess the year gone past. So here’s my tuppence worth: my top ten movies released in the UK in 2015.

10. Selma (Dir: Ava DuVernay)

Eschewing traditional biopic trappings to focus on a period of months approaching the signing of the Voting Rights Act in 1965, DuVernay’s dynamic direction melded perfectly with David Oyelowo’s masterful performance to deliver a powerful and relevant film. SITCS rating: 4/5

9. Suffragette (Dir: Sarah Gavron)

Scripted by the superlative Abi Morgan, Suffragette harnessed the considerable talents of Carey Mulligan to bring humanity to the tale of the suffragette movement in the early 1900s. Although key players are glimpsed (Meryl Streep as Emmeline Pankhurst and Natalie Press as Emily Davison), at the heart of the story are the ordinary women who were inspired to stand up for what they believed was right.

8. The Falling (Dir: Carol Morley)

Strange and hypnotic, Morley’s tale of a 1960s girls school seized by a fainting epidemic was as enchanting as it was unsettling. Featuring a show-stopping performance from Game of Thrones’ Maisie Williams, along with a strong supporting cast, The Falling’s many twists, turns and ambiguities provided food for thought long after the credits rolled. SITCS rating: 5/5

7. While We’re Young (Dir: Noah Baumbach)

Baumbach’s most serious film first matched and then pitted Ben Stiller’s documentary film maker with (/against) Adam Driver’s young upstart in a comedic tale of ambition. Although it felt like a move away from the screwball elements of Frances Ha, Baumbach’s signature line of absurdist humour was still very much present, such as in a surreal encounter between Stiller’s Josh and a bemused financier.

6. Les Combattants (Dir: Thomas Cailley)

A remarkably accomplished debut feature for French director Thomas Cailley, Les Combattants is a gently comedic tale about the aimless Arnaud (Kévin Azaïs), who follows apocalypse-obsessed Madeleine (the always excellent Adèle Haenel) into a military boot camp. Offering a wry look at youthful expectations of life and romance and featuring a fascinating third act tone-shift, Les Combattants delivered enjoyment above and beyond its simple premise, and Cailley will definitely be one to watch. SITCS rating: 4/5

5. Grandma (Dir: Paul Weitz)

Squeaking in at the last minute (it didn’t make it to Bristol until Dec 28^th) Grandma was a surprise entry into my top 10 this year. The straightforward story- a pregnant teen, fearing the wrath of her mother, goes to her grandmother for the cash necessary to get an abortion- is brought into vibrant life by a razor sharp comedic script and impressive performances, including Lily Tomlin as the gloriously acerbic titular matriarch, Elle. Although the slim running time doesn’t leave much time for exposition, the characters feel fully realised, and it’s a pleasure to be in their company. I found myself glued to the screen throughout.

4. Clouds of Sils Maria (Dir: Olivier Assayas)

Assayas’ postmodern tale of actress Maria Enders (Juliette Binoche) wrestling with insecurities brought bubbling to the surface in the wake of agreeing to play the role of the tragic older woman in a play about a relationship gone sour provided a fascinating exploration of the relationship between performer and material. This, combined with a complex friendship between Enders and her assistant Valentine (a César award winning turn from the increasingly impressive Kristen Stewart) and the breathtaking environs of the Swiss Alps amounted to a fascinating piece. SITCS rating: 4/5

3. Appropriate Behaviour (Dir: Desiree Akhavan)

A hilarious, warm and poignant coming of age tale following Shirin (Akhavan) as she attempts to recover from a breakup with her first girlfriend Maxine (Rebecca Henderson) and navigate the dual identities of being both bisexual and Iranian. Akhavan’s frank take on sexuality, family relationships and the foibles of generation Y works as both a knockabout comedy and an interesting illumination of one of the more frequently overlooked letters in the LGBTQ acronym. SITCS rating: 5/5

2. Ex Machina (Dir: Alex Garland)

2015 was an interesting year for sci-fi, with big blockbusters (The Martian, Star Wars: the Force Awakens) sitting easily alongside indie releases (from the frustrating The Signal to fascinating on-demand releases such as Predestination and Advantageous). Ex Machina was released in January and made enough of an impression on me that it’s still in the top three of the year. Nimbly navigating the potentially problematic premise of having a female-appearing AI under the gaze of two male observers, Ex Machina is a slow-burning thriller unafraid to dig its nails into the full implications of creating an artificial being capable of passing the Turing test. Standout performances from Domnhall Gleeson and the increasingly ubiquitous Alicia Vikander and Oscar Isaac compliment the well-considered script and neat direction. SITCS rating: 5/5

1. Carol (Dir: Todd Haynes)

It’s not often a straight-up (no pun intended) romance makes it near my top ten, but Todd Haynes’ glorious film stood out above all else this year. All oblique angles and loaded gazes, Haynes and screenwriter Phyllis Nagy’s adaptation of Patricia Highsmith’s novel The Price of Salt elegantly captured the love affair between unhappy socialite Carol Aird (Cate Blanchett) and young photographer Therese Belivet (Rooney Mara). Charting the heady highs and lows of an improbable but irresistible infatuation without ever becoming overwrought, Blanchett and Mara put in career-best performances as the two lovers and provide a masterclass in acting between the lines. SITCS rating: 5/5

Happy 2016 everyone!

The Top 13 Films Of 2013

The first Christmas of the blog, and to celebrate we have put together our selections of the best films of the year. Readers will have to take into account that we have been unable to see all the brilliant films that have been released this year, but together we didn’t miss out many. Out of the films that we have been able to see that were released in 2013, these  were our favorites.

13th

The World’s End

The final film in Edgar Wright’s Cornetto Trilogy sees Simon Pegg and Nick Frost reverse their respective roles as straight man and goof to allow Pegg to revel in the role of Gary King, whose teenaged antics left friendships tattered in their wake. Years later he reunites his sixth-form chums (Frost, Paddy Considine, Martin Freeman and Eddie Marsan) to embark upon a bar crawl left unfinished 20 years previously. The madcap action, exquisite chemistry between the principal actors and confetti-like shower of jokes make The World’s End an exhilarating ride, more than making up for the fact that it really doesn’t make much sense.

12th

The Conjuring

This was the new film by James Wan this year, and he was back on top form, with what might have been his best film since Saw! The Conjuring is based on the “true” case files of the paranormal investigators Ed and Lorraine Warren, as they help a family that is terrorized by a dark presence in their new house. It sounds like a story that has been told a million times before, and it is essentially. But just because a genre has been made so brilliantly and frequently, doesn’t mean it can be done again, with a new air of creepiness and with the help of one of the horror juggernauts of the decade that is James Wan. Wan is able to combine his ability to build an eerie atmosphere and then bring in a genuine jump out of your seat scare better than most. He also has good fun with a particularity suspenseful exorcism as a climax (oops, sorry, spoilers included). What makes this horror film such a chiller is that it deals with all the aspects of modern horror that deal a real scare factor, if you leave out torture porn. As it deals in possessed objects, old dolls, exorcisms, camera recorded scenes, ghosts and the church. James Wan beautifully molds these altogether to make what is in my mind the best horror since Insidious (which is another terrifying film from James Wan). Wan never fails to shock or scare us. Don’t watch alone.  

11th

The Hunger Games: Catching Fire

This is the second film adaption of the bestselling book series. (WARNING SPOILERS) This film picks up shortly after the previous ended, with both Katniss Everdeen and Peeta Mellark, having outsmarted the system and survived the 74th Hunger Games. Now, after a year of travelling the districts to give speeches, honor the families of dead competitors (and become a unintentional symbol of hope and rebellion), the 75th Hunger Games arrive. And this time an evil plot is devised by President Snow (Donald Sutherland) to remove the infectious symbol of rebellion: this years Hunger Games will be between previous winners. Just by reading this summary, you can tell this film has a lot more story than the previous, but that is down to the superb work of author  Suzanne Collins. Don’t let that fool you into thinking that this means that the quality of the film making is disappointing, its the complete opposite. Unlike most, I found the first Hunger Games boring and shallow. So you can imagine, I was point off by the perfection of the film, when I sat down to watch what I thought would be 146 mins of children stabbing each other and crying. Which in essence that is what the film is, but anyone who has seen Catching Fire will tell you that there is so much more to the film. As the side of the film where Everdeen and Mellark are interpreted by the people as a weakness in the armor of the oppressive government just makes you want to punch the air. Another highlight is still Everdeen and Mellarks relationship, inside and outside the arena of the Hunger Games. So the film moves away from the core subject (of children trying to brutally kill each of to survive ), and focuses with great detail on what Everdeen and Mellark started in the 74th Hunger Games. And in turn what impact the Games had on them and the people. Making you want to really rally behind Everdeen and route for her all the way. The only negative I can think of is that they have decided to make the final book in 2 parts, like all big franchises feel they need to do ever since the Harry Potter series, hopefully they can keep up the good work. They had better after such a brilliant cliffhanger ending.

10th

Much Ado About Nothing

Joss Whedon’s adaptation of the Shakespearian comedy sets the action across a borgeois week-long shindig in modern-day California, complete with party frocks and flowing alcohol. The black and white cinematography and simple camerawork give Shakespeare’s rich language ample room to breathe, while the well thought-out staging and on-point delivery make the material accessible. The cast are all well-suited to their roles, most notably Nathan Fillion as Dogberry displaying comic timing so precise you could set your watch by it, and Sean Maher oozing menace as the villanous Don John. Amy Acker and Alexis Denisof stike a good balance between comedy and pathos as the intellectual rivals who can’t quite seem to stop sniping at one another. A slim 109-minute running time prevents iambic pentameter overload for the uninitiated without compromising on the story.

9th

Wreck-it Ralph

Disney’s early-in-the-year animated offering served up a visual treat as video games past and present, fictional and real, were lovingly rendered in colourful CGI. John C. Reilly voiced the eponymous protagonist, an 8-bit arcade villain who tires of never being invited to the other characters’ parties, and ventures out of his game to become a hero. With visual and verbal gags aplenty and an excellent complement of supporting characters, Wreck-It Ralph is a pleasure to watch. Some standout moments include a videogame villans support group and an inversion of a romance/revenge videogame storyline plot for GI-Jane Calhoun (voiced by the excellent Jane Lynch).

8th 

Philomena 

Philomena is a film (obviously) that tells the true story of spin doctor Martin Sixsmith, who after losing his job tries to return to journalism. The story he decides to write about is Philomena Lee, a woman who had a child 50 years ago who she was seperated from at a very young age. So the unlikely duo set out to find Philomena’s long lost child. This was not only the film that made the most reviewers happy, but was also the most lighthearted film that managed to involve such serious spiritual and moral issues. So for that reason alone it had to make it onto our list is some way. All you have to do to love this film is to watch it, and like Steve Coogan. Which is something that I know a lot of people find hard to do, as he is very much like Marmite. Luckily I am one of the people that love him, which is why I was so pleased with his genuine acting skills and his brilliantly intelligent script that brings a lot to the story, with both emotional punch, and brilliant humor. Without the humor the film would be harder to enjoy and watch as in many scenes the film can be distressing, and also deals with a topic that is overall sad. But with the added humor, which is better than most would expect, (example of this would be Judi Dench playing an old Irish woman who says the word “clitoris”) it makes the film much more enjoyable and an overall more watchable film. With a very faultless performance from Judi Dench as well. This film manages to handle numerous life issues with intelligence and humor, one of the best British films of the year, if not the best British film of the year!

7th 

Les Miserables

Although this film was one of the first of the year for British cinemas, it was still able to remain as one of the most outstanding, also one of the most refreshing and one of the great movie musicals in years (unless there’s a big film I have forgotten). The film was so original and refreshing because of its one big difference to any other films of this type: all the singing was done live on filming (unlike most musicals, where the actor will sing the song in a studio and then will just mouth it during filming). This made it possible for the actors to sing with great emotions and acting skill, which enabled Anne Hathaway her to win an Oscar. Not only is this film very emotional in its story and the songs, the combinations of the striking all around performances, the film really packed emotional punch. The songs are brilliant enough on there own but with contribution from Tom Hopper and a striking cast (Hugh Jackmen, Anne Hathaway, Russel Crowe, ect) the film was really able to to reach perfection, you will be to busy crying to sing along.

6th

Blue is the Warmest Colour

Controversy aside, this year’s Cannes Palm D’or winner is a bold and deeply emotional piece of work that delves into the nature of love, pain and self-knowledge. Newcomer Adèle Exarchopoulos and co-star Léa Seydoux deliver frankly astonishing performances, elegantly captured by director Abdellatif Kechiche’s use of stark close-ups throughout. Food, children and (of course) colour are all used as devices to highlight the difficulty of lead character Adele’s journey of self discovery and the formation and disintegration of her relationship with the enigmatic blue-haired artist Emma.

5th

The Place Beyond the Pines

It was very pleasing when this film turned out to be different to Drive, due to the fact that Ryan rides a bike in this one. But the film might just have matched the perfection of Drive, not only through tense chases and “beautifully” violent hammer scenes, but through a surprising in depth story line and general perfection. The film not only follows the story of a bank robber on a bike who tries to provide for his son, but the impact that he has on the community and how one person can effect so many other lives even after death. With a huge touching story line and great performances its a film that you will recommend even if you cry for a large part of it, always a sign of a good film if you cry.

4th

Django Unchained

This film was the best we had seen from Quentin in a long time. Largely because it was just sheer entertainment and undeniably good fun. Unlike most of his films you weren’t having to cover your eyes at brutal scenes of pure violence and then wonder ‘why am I watching this?’ In this film Tarantino turned his sights on the wild west and made one of the most entertaining cowboy films in a long time. With shoot outs, justices, style, humor and a beautifully written script, this film made for a real treat. Along with a flawless performance from Christoph Waltz and very fun baddie roles from Samuel L Jackson and Leonardo DiCaprio.

3rd

Short Term 12

Brie Larson shines in the lead role as a worker at a halfway house for teenagers with unstable family situations. Neatly scripted and shot by Destin Cretton, the film follows Grace (Larson) as she struggles to reconcile her past troubles in the face of an uncertain future, catalysed by the arrival of Jayden (Kaitlyn Drever), an ostensibly snarky teen whose exterior belies a deeper vulnerability which eerily mirrors Grace’s own. Larson’s performance, along with a superlative emotional arc, place this film amongst the very best of the year.

2nd

Captain Phillips

Possibly Greengrass best film. It contained surprisingly good Nigerian actors which brought brilliant character drama between Tom Hanks and Barkhad Abdi. All three of these men have been outstanding and could be promising contenders for Oscars. One of the best hostage film to date.

1st

Gravity

Perhaps not the most original choice for top spot, but we were very impressed with this tale of survival in the most hostile of places. Director Alfonso Cuarón’s careful management of the 3D effects creates a spectacle of subtelty, with everything looking perfectly in perspective and therfore mind-bogglingly real. The balletic anti-gravity action inside and outside of spacecraft is surprisingly well-anchored in an environment where ‘up’ and ‘down’ have no meaning.  George Clooney delivers a solid performance but Sandra Bullock carries the bulk of the film after a collision with satellite debris leave her rookie spacefarer Ryan Stone isolated with an almighty mission to carry out. A tragic backstory for Stone and a smattering of ambiguously presented religious imagery provide some emotional depth, however this is predominantly a movie for your eyes rather than your brain. But what a feast for the eyes it is!