The Mutilator [AKA Fall Break]: years after accidentally killing his mum (which drove his father insane), a teenager brings some friends to the estranged dads beach condo for an autumnal break. Despite being firmly in B-Movie territory, it’s quickly apparent that this is a completely amateur production. The big faults of the film fall at the feet of one-time director/writer/producer Buddy Cooper: there’s no tension, lots of awkward silence, bad original music, stale acting, and every scene feels dragged out for longer than it needs to be – to hit the coveted 90-minute mark. In fact, everything about this picture is so corny and cheap, it gives The Mutilator a certain charm that all the money in the world couldn’t buy: things like the second-long pause between lines in conversations, the stilled delivery of dialogue, the seemingly straight sentences like “I got a baaad feeling about this”, the awkwardness of every extra, and the campy death screams… The saving grace are the substantial gore effects of Mark Shostrom (Videodrome, Evil Dead II, X-Files, Buffy) as each character gets picked off with boat motors, battle-axes, pitchforks and fishing gaffs – the latter being the films single ‘ho-leeee sheeeet’ moment. A solid poster, catchy tagline, sensible re-naming, and handful of gory moments will ensure that this routine slasher flies off the shelves for years to come. Despite the professional level blood ‘n’ guts, everything else about The Mutilator has an Alan Smithee quality which will be enjoyed, but only by hardened genre fans and drunk friends.
B-Movie Score: 5/10
As always, Arrow Films have given this relatively unknown film the definitive release: it’s completely uncut and director-approved for the first time in the UK, boasts a 2K scan from the original copyright print, original mono soundtrack, and more commentaries / features / stills than you can shake a bloody axe at!
Sicario: a young SWAT member joins a ‘special activities’ task force that may or may not be as legitimate as they first appear. The acting, direction, and visuals are gorgeous and often spellbinding; the characters and plot however… not so much. Very little new ground is covered, particularly with the characters: a naïve by-the-book agent (Blunt), mysterious and dangerous man-with-no-name (del Toro), the charismatic but cynical and amoral team leader (Brolin), questionable American operations, yada yada yada. The central character – who is already an unnecessary audience surrogate – has an even more redundant BFF to more explicitly vocalise her thoughts and attempt to let the dummies at the back know what may be happening (not much is actually revealed until the last 20 minutes). There’s a few nerve-shreddingly intense scenes like the border crossing, tunnel raid, and the last supper; which are paired with bursts of ultra-bleak violence and very graphic gore, which make the movie more grisly – although these felt like they were chasing notoriety, and ‘sexing up’ the otherwise flat tone. The daytime scenes look fantastic, downside being that some of the low-light or night-vision scenes are harder to follow. While Sicario looks fantastic, has the big names, and some dark and memorable scenes it’s far less effective than a straight-up drama like Prisoners: it feels a bit like a Steven Seagal/SWAT plot viewed through another character, and with an arthouse guise – leaving me with the impression that it’s more a film for the critics than the public. Like the pacing, story, shots, and characters, Sicario is intentionally slow and steady.
The November Man: a lethal ex-CIA agent is brought back in for a simple extraction that tangles him up with a Russian politician, the CIA, and his former protegé. It’s one of those films set in the Soviet Bloc in which ‘everebadee talkz Eengleesh‘. It also boasts two former James Bond stars reprising the best bits of their roles – and for what it’s worth, it’s great to see Broz’s charisma again as he pouts and shouts his way from scene to scene in a antiheroic fashion. For a political/thriller there’s more than enough solid action scenes: car chases, foot chases, gunfights (complete with some John Woo style jumping / slow mo). There’s a shape-shifting plot that’s fun to follow, especially because the entire film is back to back plot-action-plot-action, that only briefly dips in the middle. It’s not all roses however; some of the sub-plots (like the mentor / master angle) feel very clunky, there’s a couple of weird directorial choices (like mad Dutch angles everywhere), and the woeful title isn’t explained until last 10 minutes – and it barely makes sense. Most importantly, there’s very little to distinguish this from a thousand other similar sub-Bourne movies based on shady CIA operations. The November Man is a solid – but unremarkable – Spy Thriller that sits just above the middle ground with entertaining performances and action.
American Sniper [Spoilers]: follows the life of America’s deadliest sniper from childhood hunting and adolescent rodeos through four tours (+1,000 days) in the Iraq war. Unsurprisingly, this film boasts typical Eastwood directing hallmarks; it’s taut, oppressive, fairly downbeat, and contains superfluous racism; told with no-frills direction or distractions from the story, which is heavily centered around emotions and individuals. The one thing that’s most problematic – at least to foreign audiences – is the cheesy portrayal of Kyle’s blindly patriotic all-Americanism, and although it’s not a particularly glamorous account, the film feels like a glorified highlight reel of a war and sniping ‘legend’. Even the ending – after showing Chris Kyle graphically kill dozens of men, women, and children, and mention 100s more – the film couldn’t even show his fate, at the other end of the barrel. The biggest reason to watch this is Bradley Cooper’s magnetic performance, showing the highs and lows of being a famous/infamous killing machine. All things considered, American Sniper comes out as somewhat mediocre; it tries to show a fresh – personal – perspective of the effects of war, but uses the full range of war film clichés like the worried wife, absent father, soon-to-be-married guy getting his shit ruined, and a crow-barred-in big action finale; which is poorly shot and difficult to follow. If you have the time to spare something like Generation Kill (which this references at least a couple of times) is a far more effective, balanced and entertaining way of seeing America’s role in the Iraq war.