Most horror films are marketed as “the most terrifying movie ever made”, and Paranormal Activity is no exception. As is usually the case, this is a gross overestimation of the scariness level involved.
The film is another example of the The Blair Witch Project school of fake documentary, a technique most successfully used by Cloverfield. A young (and very annoying) couple are hearing bumps in the night, the same bumps that have been plaguing the girl (Katie Featherstone, a slightly dumpier and brunette version of Amy Adams) since childhood. The guy (Micah Sloat) decides to buy a video camera and start recording the goings on, even though a paranormal expert warns them not to antagonise the demon. The film is ostensibly the footage they shot.
Made extremely cheaply and with no effects you would class as “special”, the film is surprisingly effective for most of its running time. With the camera recording the couple as they sleep throughout the night, the audience must be very quiet to hear the paranormal activity, naturally producing tension and jumpiness. There are no big scares, though, and by the end your patience may have run out with both the demon and the couple.
The film is enjoyable if you are in the right mood. Otherwise you’ll realise you’re spending minutes of your finite life watching a bedsheet twitch.
Thursday 17 December 2009
Review - Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon)
Evil comes in many forms, and mindless cruelty seems to be Michael Haneke’s favourite. This engrossing and Palme d’Or-winning film examines the tensions that can simmer just below the surface of a seemingly ordered society. While certainly not a horror film or even a thriller, it will leave you feeling unsettled for days.
The setting is a German village in 1913 plagued by random acts of nastiness. Who is the culprit? Why are they doing it? We follow many different people as they try to go about their normal lives, from the local Baron to the lowly farmer. People are born, fall in love and die, and yet the mysterious happenings continue.
Filmed in digital black and white, everything about this film is exquisitely just-so. The pace is measured and the framing of each shot is somehow still and quiet, but never boring. The White Ribbon feels like the sort of film they haven’t made since the 70s: of a decidedly modern sensibility but with a respect for the audience that has been otherwise lost in the years since.
The full German title should give you a clue that there are some children involved in the story. Child acting is often pretty iffy, so that fact could raise alarm bells. Never fear, though, because Haneke has chosen wisely and all give wonderful performances. Two adorable little boys and a mildly terrifying older girl called Klara (Maria-Victoria Dragus) are particularly noteworthy. Amongst the adults, the sweetest scenes feature a geeky school teacher (Christian Friedel) and his burgeoning relationship with the Baron’s nanny (Leonie Benesch). Their innocence and goodness contrasts sharply with some of the other residents of the village.
The shadow of history hangs heavy here. But while the German setting is far from accidental, the film shouldn’t purely be seen as an allegory of Nazism. There is something more universal about the themes involved. Some will find the ending frustrating, but others will realise that it is more realistic than any neat solution would be. And when the journey to reach it is so fascinating, a little frustration may be worthwhile.
Monday 14 December 2009
Review - Up
It seems that Pixar is now well into its second phase of its development as a studio. In the first phase, you can imagine the origin of all the films starting with someone saying: “Let’s make a film about...” There was: “Let’s make a film about toys.” Then: “Let’s make a film about insects.” Followed by: “Let’s make a film about monsters/fish/superheroes/cars.” That’s not to say that the resulting movies weren’t all individually wonderful and bursting with ideas, it’s just that the basic set-ups didn’t need a huge amount of explanation to be understood by both adults and children before they saw them.
The second phase of Pixar has seen much stranger stories come to life on the big screen, ones that can’t be explained in one short phrase. These films feel like they are each the vision of one individual with the freedom to make the film they want to (even though we know that animation is the most collaborative medium). Ratatouille wasn’t just a film about rats, it was about a rat who becomes the best chef in the world through pulling the hair of a human. Wall-E wasn’t just about robots, it was about a robot left alone on Earth to clean up after humanity had left the planet. And now comes Up, a film about an old man who attaches thousands of balloons to the top of his house so that he can fly to South America to fulfil a promise, and about the boy scout who tags along for the ride.
Up is a beautiful film in more ways than one. The animation, as you would expect from Pixar, is stunning; the characters are designed in a charming ‘cartoony’ style, with no attempt to make them look creepy and realistic, and the palate is lively and colourful. I saw the film in 3D, and while it was nice, I wouldn’t say it was necessary at all (nothing flies at your face in a thrilling way or anything). It is the writing that is most beautiful, however. The story is extremely poignant, and will leave many 3D glasses stained with tears. It’s not all doom and gloom, though, as there are some very funny bits and silly animals that will keep the children happy.
The voice acting is excellent. The relationship between the old man and the little boy is really at the heart of the film, and they are portrayed brilliantly by Edward Asner and Jordan Nagai respectively. Christopher Plummer seems to be everywhere at the moment, and he is good here as a demented baddie. The score by Michael Giacchino has a lovely retro feel that adds a lot to the film as well.
It may be a slightly complex and unusual story for what is ostensibly a children’s film, but that is what makes Up such a wonderful piece of work for people of all ages. If this is the second phase of Pixar, I can’t wait to see what the third phase will bring.
The second phase of Pixar has seen much stranger stories come to life on the big screen, ones that can’t be explained in one short phrase. These films feel like they are each the vision of one individual with the freedom to make the film they want to (even though we know that animation is the most collaborative medium). Ratatouille wasn’t just a film about rats, it was about a rat who becomes the best chef in the world through pulling the hair of a human. Wall-E wasn’t just about robots, it was about a robot left alone on Earth to clean up after humanity had left the planet. And now comes Up, a film about an old man who attaches thousands of balloons to the top of his house so that he can fly to South America to fulfil a promise, and about the boy scout who tags along for the ride.
Up is a beautiful film in more ways than one. The animation, as you would expect from Pixar, is stunning; the characters are designed in a charming ‘cartoony’ style, with no attempt to make them look creepy and realistic, and the palate is lively and colourful. I saw the film in 3D, and while it was nice, I wouldn’t say it was necessary at all (nothing flies at your face in a thrilling way or anything). It is the writing that is most beautiful, however. The story is extremely poignant, and will leave many 3D glasses stained with tears. It’s not all doom and gloom, though, as there are some very funny bits and silly animals that will keep the children happy.
The voice acting is excellent. The relationship between the old man and the little boy is really at the heart of the film, and they are portrayed brilliantly by Edward Asner and Jordan Nagai respectively. Christopher Plummer seems to be everywhere at the moment, and he is good here as a demented baddie. The score by Michael Giacchino has a lovely retro feel that adds a lot to the film as well.
It may be a slightly complex and unusual story for what is ostensibly a children’s film, but that is what makes Up such a wonderful piece of work for people of all ages. If this is the second phase of Pixar, I can’t wait to see what the third phase will bring.
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