Exit 7A (2012) Short Film, Sweet Twist

The old adage says, "Less is more."  Learning my writing chops over the years, I was told that time and time again (and I'm still guilty of the occasional wordiness).  It's the same in film - there's a time and place for glitz and show, but unless you've got a basically good, solid story, it's just that:  glitz and show.

In watching Hammer and Saw Films' short film Exit 7A, writer-director William Peters told a lot of story in very little time.  Really, that's the point of a good short film:  to get its point across in a limited duration.  There's no need for "glitz and show," as the film does exactly what it needs to do:  tell a great story.  Peters and his crew accomplish that in a way that reminds me - despite my seemingly general comparison - of an episode of Twilight Zone or Outer Limits.  Like those programs, it's a straightforward mystery in which you know the answer, but it's not thrust in your face like an over-sharing kid showing off a half-melted ice cream cone.  It's subtle, telling a story rather than trying to impress you with insane visuals, and it opens up a possible universe of related stories.

Based on a short story by Asher Ellis, Peters presents the story of good-guy Paul (Ben Watts), on his way to a family gathering one winter day.  Harry (Michael Mooney) calls to tell Paul to get his butt in gear because he's off to work, and the relatives are "restless," especially Uncle Frank, who's not feeling too well.  Paul assures Harry he'll be there, but is distracted by a beautiful and mysterious hitchhiker (Angela Borrello).  Taking the winter air into consideration, as well as his own curiosity, Paul decides to give her a ride.  She's guarded, reserved, and haunting with her hypnotizing blue eyes.  She does, however, let Paul know his intentions:  she's planning on killing someone off of Exit 7A, and wonders just what Paul might do to stop her.

I'm not going to spoil it, but it plays out with intensity, and a nice little twist.  Peters does a great job in packaging a really good near-homage to the gore-less, character-driven subtle mysteries on which the horror genre is built.  While Mooney provides a solid supporting base and Watts is really good, capable, and believable lead, Borrello really stood out to me as she carried an air of confident mystery around her in playing off of Watts' Paul.  The film also looks great - the cinematography and framing show just how alone Paul is with the hitchhiker, despite the openness of the landscape.

According to Peters, Exit 7A will continue making the festival circuits before being officially released later this fall on the Hammer and Saw Films website.  I asked Peters if Exit 7A could end up being part of a horror anthology, to which he replied, "The thought of Exit 7A being a part of an anthology has definitely crossed my mind.  I think an indie horror anthology show would be awesome - something I would definitely support."

Hey, I like anthologies, so I'd be all for it as well!

Until next time, passengers, you can check out the official Exit 7A website here and take a look at the trailer below:


Exit 7A - Trailer from Hammer & Saw Films on Vimeo.

[REC]3: Genesis: Wedding Planning Ain't Easy

I'll go on record right now and say that the Spanish horror franchise of [REC] films is one of the best series of horror films, in my humble, little opinion.  I'm sure there are differing opinions, but this is mine.  I love [REC] and [REC2] like I love cake. They're both heaping helpings of visceral tension with a claustrophobic, scared-of-the-dark atmosphere as the icing on top.  While the franchise is essentially going to be a trilogy, it has a sort of "middle episode" that strays from the usual formula of darkened hallways, scarce lighting, and outright terror.  [REC3]:  Genesis is definitely a departure from the other two films, especially in tone.  While it is a little jarring, that isn't necessarily a bad thing.

Paco Plaza, who co-directed the first two films with Jaume Balagueró, takes the solo helm for this film which, unlike the first two, takes place over a longer period of time.  We begin in the afternoon and end the following morning, whereas the others were in real time.  There are two huge differences that will either be applauded or derided:  one, the use of the first-person camera is not all the way through the entire film, and two, the tone strays from the franchise in that it employs much more humor.  Don't get me wrong:  it's still full of gore, frights, and outright creepiness.  But it's also funny in many parts.

The movie begins with a wedding, and we're introduced to many of the characters, mostly family and close friends of the bride, Clara (Leticia Dolera) and Koldo (Diego Martín).  They're a beautiful couple (who look a little like a young Shelley Duvall and Jason Segal), getting married in a beautiful church in a beautiful part of Spain.  You just know this idyllic event is going to be ruined by bitey demon-things at some point, and you would not be wrong.  In fact, there's a clue early on that tells you who is going to be the first to be all bitey.  It's just a sweet wedding and reception (and I love the touch of a DVD menu of the wedding starting the film - trust me, you have to see it, it's quite funny). But when a dear uncle exhibits strange behavior - which gets really strange - all hell breaks loose.  The infection that spreads in the [REC] films is fast-acting and truly evil, in every sense of the word.   The survivors have to scramble and in the chaos, Clara and Koldo are separated.  The driving force of the film kicks in here:  Clara and Koldo's love and desire to be together versus the evil demonic infection.  What happens after that is all-out grindhouse-y fun with some really clever moments (that I can't really spoil), even if it does stray from the already-successful formula.

It's a change of pace from the first two films, to which, as a sequel, this film will always be compared.  There's a wackiness that threads its way through the horror, involving things like ancient armor, a Spongebob knock-off, and a badass, chainsaw-toting bride.  Seriously, when Clara has had enough and grabs that chainsaw, you know it's on like Donkey Kong, baby.  [REC]3:  Genesis is like a quick breather in between more intense episodes, and the franchise is set to finish off soon with [REC] 4: Apocalypse which tells you right there where the infection is heading.

A fun, strange, and still-terrifying film from a country that produces some great horror films, [REC]3:  Genesis isn't the same animal as its predecessors, but it's still good and still has that sense of hopeless doom...with one small glimmer of hope, but I'll let you figure that one out for yourselves.

Until next time, chopper passengers, here's the trailer:

The Pact (2012) A Study In Suspense

Sometimes, just a well-placed shadow and a dark room can be just enough to get your heart racing.

Yeah, I know gore makes the headlines but a good suspenseful, creepy atmosphere can reach further into your soul and run it through a blender.  And most recently for me, The Pact was that blender.

Written and directed by Nicholas McCarthy, this sweet little thriller doesn't employ colorful special effects or a cast of pretty semi-teens to get its point across.  Instead, it draws you into a confined space and deftly hides things until it decides to show them to you in some pretty unique ways.  Seriously.  There are a couple moments when you might say, "That was different."

On the heels of her mother's death, Nichole (Agnes Bruckner) argues via phone with her estranged younger sister Annie (Caity Lotz) before saying good-night to her little daughter, Eva (Dakota Bright), who is staying with her cousin, Liz (Kathleen Rose Perkins).  There...right there, you've got the family unit, which is an underlying theme of the entire film.  Nichole disappears while investigating a strange noise in her late mother's home.  When she doesn't check in, Annie meets Liz and Eva there to prepare for the funeral, sure that former drug addict Nichole will eventually turn up.  During the night, weird noises ring out and the lights flicker as Liz disappears while Annie and Eva escape the chaotic house.  Annie goes to the police, and the only one who will believe her is Detective Creek (Casper Van Dien).  They investigate the house together, and find that there's more to it than meets the eye.  While Annie sees strange, terrifying apparitions, and witnesses a strange freakout by a local psychic (Haley Hudson), she and Creek begin piecing together the mystery of the house and what happened to Nichole and Liz.

The answer came out of left field, yet made perfect sense.  As is my practice, I'm not going to spoil it here, but I can tell you that you may not see the resolution coming.

The Pact, despite the minimalist title, really delivered for me.  McCarthy's plot and direction, with its genuinely interesting and surprising twists, was well-paced and well-choroegraphed.  Like I said, things happen and they may catch you off-guard.  Some will have you nodding in agreement and others will have your jaw being scraped off the floor.  The effects are bare-bones, but this isn't an effects-driven film.  The effects that are employed are pretty jarring.  You'll never look at Google Maps (or a film version of it) the same way again.  Shadows and space are used to their utmost, guaranteeing at least one instance of the viewer peering through their hands in fear.  Give me a shadowy atmosphere over computerized gore any day.

The acting is top-notch.  In her short time on-screen, Brucker sets the story's table with a solid performance as Nichole.  Van Dien has come a long way from Starship Troopers (which I really dug) - he's older and definitely more sure of himself as an actor, and his character wasn't a cardboard cutout of a sympathetic, grizzled police detective.  I really enjoyed Hudson's blind psychic Stevie:  rather vacant yet insightful, a wisp of a girl uncovering something very sinister.  Living up to her billing as lead, Caity Lotz turned in a stellar performance.  Her Annie is afraid yet strong and determined, her will to find her sister and cousin - and solve an old mystery - beating out her fear of the unknown surrounding her.  And boy, does it surround her.

The Pact is available on some on-demand services, so check around and see if you can find it.  It's worth it. 

Now check out the trailer:

The Caller (2011) Astronomical Phone Bills

I actually stopped myself from making a "Who was phone?" reference in the title.  I should treat myself to a cookie.

The Caller is a neat little bit of Rod Serling-esque horror and suspense that creates a seriously interesting "how is she going to get out of this?" atmosphere.  There's nostalgia surrounding the trusty old rotary phone.  I remember the smooth whir of the dial as it spun, the restriction in movement thanks to the curly wire that always needed to be untangled, the bell ringer...I'm not that old, but I was a kid in the 70's and grew up into the 80's.  Portable phones still weighed as much as a set of small dumbbells.

Written by Sergio Casci and directed by Matthew Parkhill, The Caller tells the increasingly-tense story of Mary Kee (Rachelle Lefevre), a new tenant in a quaint old Puerto Rican apartment building.  She's also a grad student trying to get away from her abusive ex-husband, Steven (Ed Quinn), and developing a relationship with John (Stephen Moyer of True Blood), a professor at the college.  In her apartment is an old rotary phone that soon starts receiving wrong number calls from a lonely woman named Rose (Lorna Raver of Drag Me To Hell).  At first it seems innocent, but then Rose becomes obsessive, especially after she implies that she's killed her husband.  What really creeps Mary out is the fact that Rose claims to be calling from the past.  And like the frightening Steven, Rose isn't willing to let Mary go.  That brings me back to the original question, "how will she get out of this?"  If she's really in the past, then she can affect Mary, but Mary can do nothing.  But really, you'd have to see how it turns out, because I'm not spoiling it here.

While the very end of the movie wasn't what I'd hoped for, the fact remains that the rest of the movie is a fine study in suspense and tension.  Mary is in a hugely frustrating situation:  she can't just change her number or even move because if Rose is truly stationed in the past, and she can affect events that affect Mary.  On top of that, she's got Steven continuing his abuse even after a restraining order is in place.  Mary has two allies in John and the apartment building's caretaker, George (Luis Guzman), but are they enough?  It's a valid question.

The Caller could easily have been written by Rod Serling or been an episode of Outer Limits as its premise is simple, but relies on the viewer's feelings of frustration for Mary because she's in a seriously helpless place.  It's moody and tense with great onscreen acting by Lefevre and chilling voice work by Raver.  I mean, Rose sounds like a sweet old woman at certain times, but boy, does that evil creep into her voice when she's angry.  Honestly, I didn't want to answer my phone for a few days after this movie - even though I don't have a rotary phone, and there's nothing scary about my cell's generic ring tone.

Here's the trailer for you to enjoy:

The Woman In Black (2012) I Shall Refrain From Harry Potter Jokes

Let's get this out of the way right now:  Daniel Radcliffe played Harry Potter.

Thanks to his growing up in those eight fine films, it will always be hard for him to not be seen as the teen wizard.  But let's get another thing straight right away...

Daniel Radcliffe is an excellent actor.

Despite great performances from a solid cast, 2012's remake of The Woman In Black is basically a one-man show, featuring Radcliffe delivering a convincing turn as troubled young lawyer Arthur Kipps.  Written by Jane Goldman and directed by James Watkins, The Woman In Black is not only a film from Hammer Film Productions, it marks a return to the gothic, bump-in-the-night spooky visual tale of which Hammer was once the relentless factory.  A good, popcorn-at-midnight flick with plenty of mood settings and jump-scares, The Woman In Black isn't the greatest haunted house film ever made, but it's definitely not a bad entry into a genre I would like to see make a bigger comeback.

Based on Susan Hill's 1983 novel, the 2012 film version features Radcliffe as the aforementioned sad sack Kipps, who is a widower with a young son (played by Misha Handley, Radcliffe's real-life godson) and a decidedly less-than-stellar assignment:  rifle through the paperwork to sell an old mansion.  The mansion happens to have the appealing name of Eel Marsh House, and is the center of a local legend in the small town where it sits.  The superstitious townsfolk aren't exactly welcoming to Kipps and maybe they have a point.  The children of the town have been dying with frightening frequency in the most gruesome of ways.  They believe the ghost residing in Eel Marsh House is at fault, and Kipps is only smacking the hornets' nest.

Kipps struggles with the mystery as well as the harrowing experiences he has at Eel Marsh House, including visions of a dark apparition that also seems to appear just before children commit suicide.  He delves into the story with the help of the only person in town who treats him with any kindness, a local businessman named Sam (Cirián Hinds), who also lost a child to the ghostly woman.  Kipps finds out what motivates the ghost and it becomes a race against time and the elements to try and satisfy the dead.

See, no spoilers and no Harry Potter references.

The Woman In Black is a solid thriller with beautiful atmosphere for gothic horror fans and sudden frights for fans of "boo!" sort of moments.  The photography and direction make everything look great, and the acting - especially from Radcliffe and Hinds - is excellent.  The ending might leave you saying, "Oh, really?" but that's really just a minor thing compared to the quality leading up to that.  It's definitely a good one to turn on late at night when you're really feeling like an atmospheric, tense little viewing.  Good, midnight fun.

And that makes it a successful film.

Oh, yeah, one more thing:  the toys.  Brrr...you'll see what I mean.

Here's the trailer:

Behind The Mask: The Rise of Leslie Vernon (2006) Gotta Be Prepared

 How is it that horror monster icons like Jason Voorhees, Freddy Krueger, Michael Myers, and the like always seem to be in the right place at the right time?  How is it they always seem to come back for more, no matter what the frightened protagonists hurl at them?  Is it luck, or could it be magic?


According to the literally-insanely-creative Behind The Mask:  The Rise of Leslie Vernon, it's all in the preparation.

Written by David J. Stieve and director Scott Glosserman, Behind The Mask:  The Rise of Leslie Vernon is a half-mockumentary, half-actual horror film revealing the lengths the charismatic Vernon (played masterfully by Nathan Baesel) will go in order to establish himself as one of those icons alongside his idols, Voorhees, Krueger, and Myers.  There's nothing inherently supernatural about Vernon, but the ways he goes about creating his own legend are like viral marketing gone mad.  He's smart, determined, funny, often friendly, and just a little bit psychotic.  OK, maybe a lot psychotic.

Taylor, Doug, and Todd (Angela Goethals, Ben Pace, and Britain Spellings respectively) are a reporter and cameramen filming a documentary about an aspiring serial killer in the vein of the aforementioned horror legends, one Leslie Vernon (Baesel).  It's an "alternate universe" of sorts, where the horror icons are a real and reluctantly-accepted aspect of the world.  Vernon is excited; he's been planning his debut for years.  Everything is timed and mapped down to the tiniest detail.  He's in top physical shape with incredible mental discipline.  He's got a backstory, he's got his virgin "final girl," and he's even got a mentor (Scott Wilson, The Walking Dead's Herschel) and an "Ahab," Dr. Halloran (Robert Englund).  Everything's in place as Vernon stalks his prey, basically herding her and her friends into a late-night outing to his "legendary" house.  Taylor and her crew follow along, playing neutral parties to what will essentially be night of murder.  When the night comes, things begin well enough, but Taylor has misgivings.  And from there, events spin out of control...or do they?  A mockumentary turns into a straight-up horror film - a metatextual transition - as Vernon pursues his dream and his final girl in the climax of this entirely creative little flick.  I won't give the bloody details, but let's just say everything happens for a reason.

Behind The Mask:  The Rise of Leslie Vernon is sparkling fun, a nod to horror fans everywhere and a different viewpoint "behind the mask," as it were.  It's like a magician revealing the trade secrets, but still managing to pull off one hell of a trick.  Baesal and Goethals are magnificent as the leads, who display a tension and respect for each other, all while creating an air of believability.  Englund is especially fun as the Donald Pleasance/Dr. Loomis pastiche and Vernon's "Ahab," the force of good that relentlessly chases the force of evil.  The film also marks the final appearance of Zelda Rubenstein, she of Poltergeist fame, as she plays the doomed librarian who relates the tale of Leslie Vernon to the intended "final girl."

The film is funny, energetic, and somewhat disturbing - I mean, you'll really start to like Vernon until you realize, "wait a damn minute, he's aspiring to kill a buttload of people."  But that's the fun of the film:  it takes itself seriously just enough to allow some guilty fun to creep in before turning the whole thing on its ear.  But most of all, it's a creative idea enhanced by great writing, directing, and definitely the acting.

So sit back and witness the rise of a new horror icon who may or may not have everything perfectly planned out...and remember to break out the windows on the ground floor.  You'll see.

Now, enjoy the trailer, won't you?  (WARNING:  Slightly not-safe-for-work, but not too bad.)

We Need To Talk About Kevin (2011) Some Are Born Bad

Disquieting.  Disturbing.  Non-linear.  Tense.  Realistic.

While I wouldn't exactly call Lynne Ramsay's 2011 thriller We Need To Talk About Kevin a horror film, there are plenty of aspects about it that are truly horrific, not the least of which is its main premise:  a helpless mother deals with a son that is psychopathic right out of the womb.  Based on Lionel Shriver's 2003 novel, the film takes a winding path towards an incident that is slowly peeled back, onion-skin style.  We, the audience, get clues as to what's going on, but we don't get the full story until near the end.  By that time, though, you'll pretty much guess how the movie will pan out, and it will leave you feeling uneasy and sad.

 

Eva (Tilda Swinton) gives birth to little Kevin, who doesn't seem to bond well with his mother.  She's not exactly Mother of the Year, though, as she is constantly impatient with the odd child.  As an infant, he never stops crying when she's around, but clams up when held by his father, Franklin (John C. Reilly).  At one point during a walk in the city, she pauses for a long while near a jackhammer just to drown out Kevin's constant bawling.  When Kevin gets older, he's a constant challenge, and that's putting it nicely.  He refuses to potty train, and soils his diapers on purpose to tick off Eva.  Fed up, she wrongly throws him against a wall, breaking his arm.  Kevin doesn't tattle on her, but already his manipulative nature kicks in and he lords the incident over Eva.  Eva and Franklin have another baby - unplanned, as the cracks in the marriage continue to widen - but the little girl, Celia, is sweet and every bit the cute kid Kevin isn't.  "Inspired" by a story read to him by Eva, Kevin takes a keen interest in archery, becoming quite adept at it as he grows into a teenager (played with cool evil by Ezra Miller).

 

 

Even years on, Kevin harbors a psychotic disdain for his mother.  Eva feels helpless, as no one, even Franklin, will believe what kind of darkness inhabits Kevin.  Just how dark that abyss in him is grows evident throughout the flashbacks and flash-forwards:  Kevin is imprisoned for something that doesn't come to light until the final act.  Let's just say you don't put a bow and arrows in the hands of an ultra-intelligent, sociopathic teenager with Mommy issues.  The movie slides into this final act with no hint of "surprises" or "twists"...you know what's about to happen, and just like Eva, there's nothing you can do about it.

We Need To Talk About Kevin is like a sneaky nightmare.  It creeps up on you and fills you with dread through the entire film.  It's not a horror film, per se, but what happens in it is horrific and that suspenseful dread I mentioned permeates the whole story to the point where just like Eva, the viewer isn't allowed to feel anything good in this twisted, dream-like world directed with great skill by Lynne Ramsay.  Swinton and Miller are utterly fantastic as mother and son, the helplessness and mental sickness coming out in droves through their expressions.  I should also mention the tremendous job done by Jasper Newell as the younger Kevin.  He effortlessly shows the remorseless and purely psycho leanings of Kevin as a still-diaper-wearing-at-six kid.

Make no mistake:  We Need To Talk About Kevin is not a feel-good movie.  I would say those seeking a hip-hip-hooray movie (or moms-to-be, for that matter) try something a little less bleak.  But still, this is a fine piece of filmmaking that is a study in the building of dread over a ninety-minute span of time.

Next review, I'm writing about something a little less dreary!

Now here's the trailer, which is pretty intense itself: