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Non-Review Review: Hard Labour (Trabalhar Cansa)

This film was seen as part of the Jameson Dublin International Film Festival 2012.

The problem with Hard Labour is that it doesn’t seem to know what it is? Is it a tough economic drama about a family struggling to survive in a harsh economic climate? Is it a horror story about the legacies of slavery and the beastly side of human nature? The problem isn’t just that the film can’t decide – the problem is that the film appears to have no interest in deciding. Or even on following through on either idea.

It left me cold...

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The Silicon Chip Inside Her Head Gets Switched to Overload: On-Screen Mania and Off-Screen Motives….

And daddy doesn’t understand it
He always said she was good as gold
And he can see no reasons
‘Cos there are no reasons
What reason do you need to be show-ow-ow-ow-own?

I Don’t Like Mondays, The Boom Town Rats

I have to admit, I have a soft spot in my heart for cheesy horror films. Not necessarily all of them, as there’s a lot of dross out there, but I have to admit that there’s nothing like a well-constructed scary movies. I was watching Scream again, this time with my gran in preparation for Halloween, and I enjoyed it yet again – I think it’s a fascinatingly clever look at the slasher genre, and a movie which is as relevent today as it was when it was released, untouched and unspoilt by the wave of inferior imitations that we’ve seen in the years since. There’s a line towards the climax of the film which got me thinking about these sorts of films, and how they’re scary. Asked to provide a motive, the killer responds, “Did we ever find out why Hannibal Lector liked to eat people? Don’t think so! See, it’s a lot scarier when there’s no motive.” Is the unknowable that much scarier?

Psyche!

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Non-Review Review: 30 Days of Night

I really wanted to like 30 Days of Night. I’m a sucker for vampire films, and David Slade’s adaptation of the horror comic started off on all the right notes, with a rather ingenious central concept. After all, if you were a vampire, could you imagine a better hunting ground than a town that spends thirty days in absolute and complete darkness, isolated completely from the outside world? It’s a novel take, and one that really should be more interesting than the rather generic desaturated gore fest that it becomes.

In need of a reVamp?

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Non-Review Review: The Ring

The Ring is actually a surprisingly effective horror when measured on its own terms, as well as being perhaps the most successful American adaptation of a Japanese horror. I would make the case that the film isn’t a patch on the original Ringu, but it’s to director Gore Verbinski’s credit that he attempts to subtly distinguish his film from the one that inspired it, while remaining true to the spirit of that classic cult horror.

Watts going on here?

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Non-Review Review: Stake Land

Stake Land is a B-movie. It’s pure schlock, with a hefty amount of cheese thrown in on top. That might sound like a criticism, but it’s more of a fact. The movie itself is well-made, a little bit sharp, not so insecure as to take itself overly seriously, and delivers something akin to an old-school creature feature with a hint of the social conscience one expects from horror. It’s not amazing, but it’s a solid addition to the slew of post-apocalyptic movies we’ve seen of late, with a refreshing awareness of its pulp roots.

He knows what's at stake...

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Doctor Who: The Rebel Flesh (Review)

I love Matthew Graham. After all, the writer who gave us Life on Mars is surely something of a British national treasure. however, his track record on Doctor Who seems just a little bit spottier, with his previous contribution being the somewhat… poorly received Fear Her way back at the end of the second season. So, perhaps giving Graham a two-parter, especially the two-parter directly before the cliffhanger before the break in the season might have seemed like a bit of a gambit. Fortunately, The Rebel Flesh is a much stronger entry than Fear Her, even if it’s not quite as spectacular as last week’s episode.

Flesh and bone?

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Non-Review Review: Snuffed (aka Killer View)

I had the pleasure of seeing a screener of Snuffed (aka Killer View), the indie horror from writer and director Brian James O’Connell. It’s a nifty little horror thriller, that is effective and deeply unpleasant in all the right ways, with an especially fascinating little hook. The basic premise is that an amateur reporter has hooked up with a practicing serial killer, documenting and interviewing the man as he goes about his business – discussing matters of philosophy, personal preferences and even practical matters. Filmed on a low budget with a small cast, it’s a well-made film which easily distinguishes itself from the rake of serial killer films out there.

Brian O'Connell (Director) instructing the actors during a scene.

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Non-Review Review: Invasion of the Body Snatchers (1978)

The Invasion of the Body Snatchers is a wonderful science-fiction premise, so it’s really no wonder that the story has been taken to the big and small screens so often. It’s a great example of how a story can strike different notes in different eras, and how something can easily be about one thing in one era, and take on an entirely different meaning in a later one. The 1978 adaptation is a wonderful piece of high-concept science-fiction, which skilfully takes the ideas from the original classic film, and shakes them around just a little bit.

It's a scream!

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Non-Review Review: Monsters

At this stage it seems almost pointless to reflect on how impressive Monsters is from a purely film-making perspective. Filmed on a ridiculously tiny budget, the film features a wonderful epic scale, beautiful locations and not-half-bad special effects (they’re more The Mist than Avatar, but let’s not complain). It’s the latest “look what modern film directors can do on a shoe string!” picture, one that you drop into conversation when you wonder how a film like Transformers can cost as much as it does. Unfortunately, as bedazzling as these aspects are, and they are very bedazzling, the film has several shortcomings which have nothing to do with budget.

Here be monsters...

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Scary Monsters and Super Freaks…

D’you know what would have been scarier than nothing?

What?

Anything!

– Bart and Lisa discuss Edgar Allen Poe’s The Raven, The Simpsons

The week before last, in reviewing Insidious, I made the observation that director James Wan made the mistake of “showing too much” in his horror film, and that movie itself suffered because it didn’t show any restraint in how it handled its creatures and monsters. The always wonderful Justin, in fairness, called me on my assertion correctly – who ever stated it was a rule that horror films can show too much? Surely it’s possible to show as much of something as you might want, provided you have enough talent and skill to do it well? Surely showing too much only becomes a problem when you aren’t skilled enough to deliver something genuinely terrifying?

Or is it something more primal? Is what you don’t see scarier?

Do I have a point?

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