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Big Bad Wolves Lior Ashkenazi, Tzahi Grad, Doval'e Glickman, Rotem Keinan, Guy Adler, Dvir Benedek, Gur Bentwich, Nati Kluger, Kais Nashif, Menashe Noy, Rivka Michaeli מי מפחד מהזאב הרע‎‎, Mi mefakhed mehaze'ev hara

Big Bad Wolves (aka מי מפחד מהזאב הרע‎‎, Mi mefakhed mehaze’ev hara): Three men’s lives come to a head when a child is murdered and the hunt for the killer intensifies – Israeli black comedy horror/thriller. Off the bat this is a very odd mix that flips from gruesome child murders straight to bawdy comedy with no hesitation. Centered around the question of “is he / isn’t he guilty”  the main chunk of this plays out like a Mystic River / Prisoners dilemma… showing normal men becoming monsters. The torture scenes are very visceral and gnarly, difficult to watch. It also starts becoming darkly comical in the last act, as the multiple – seemingly innocuous – strands are brought nicely together. Hailed by Quentin Tarantino as the best film of 2013, this is one of his shout-outs that is actually worth a punt!

Score: 7/10

Big Bad Wolves Lior Ashkenazi, Tzahi Grad, Doval'e Glickman, Rotem Keinan, Guy Adler, Dvir Benedek, Gur Bentwich, Nati Kluger, Kais Nashif, Menashe Noy, Rivka Michaeli מי מפחד מהזאב הרע‎‎, Mi mefakhed mehaze'ev hara

 

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Train to Busan (부산행,  Busanhaeng), Gong Yoo, Jung Yu-mi, Kim Su-an, Ma Dong-seok, Choi Woo-shik, Ahn So-hee, Kim Eui-sung, Choi Gwi-hwa, Jung Suk-yong, Ye Soo-jung, Park Myung-sin, Yeon Sang-ho

Train to Busan (AKA 부산행,  Busanhaeng): follows a ragtag bunch of commuters as a zombie outbreak sweeps through South Korea – and their Train. Mostly killer and very little filler, this is about as fun and enjoyable as a zombie apocalypse film can get. All of the populist and barnstorming zombie staples are there – namely hoards of ultra-twitchy and energetic zombies gorily ripping their way through everything and everyone in their path. Not unlike Snowpiercer, the train is a great way of offering up a diverse cross-section of society, which leads to some light social commentary and comedy moments. It’s a tight and straightforward film that has a punchy setup, then revels in the crimson spectacle of a drawn-out zombie attack. The action is all well-handled and there’s some nice dramatic moments thrown in for some respite and balance. The only minor niggle is that it loses it’s way a little in the final act and gets a bit too Hollywood / 28 Weeks Later. Overall, this has all of the prime cuts that you want from Zombie film, and none of the offal (except for buckets of brains and guts!)

Score: 7.5/10

Train to Busan (부산행,  Busanhaeng), Gong Yoo, Jung Yu-mi, Kim Su-an, Ma Dong-seok, Choi Woo-shik, Ahn So-hee, Kim Eui-sung, Choi Gwi-hwa, Jung Suk-yong, Ye Soo-jung, Park Myung-sin, Yeon Sang-ho

Train to Busan (부산행,  Busanhaeng), Gong Yoo, Jung Yu-mi, Kim Su-an, Ma Dong-seok, Choi Woo-shik, Ahn So-hee, Kim Eui-sung, Choi Gwi-hwa, Jung Suk-yong, Ye Soo-jung, Park Myung-sin, Yeon Sang-ho

The Autopsy of Jane Doe Emile Hirsch, Brian Cox, Ophelia Lovibond, Michael McElhatton, Olwen Kelly, Parker Sawyers,  André Øvredal

The Autopsy of Jane Doe: two small-town coroners investigate a fresh “Jane Doe”, whose cause of death becomes increasingly difficult to pin down as they learn about the body. This film is the embodiment of tight and efficient: a brief 15-minute setup; 30 mins of live/real-time autopsy, and the last half the film shifts gears into a full-on supernatural horror / thriller. Not for the faint-hearted, parts of this are horrifying to watch; the autopsy is shown in all of it’s snapping, sawing, scalping glory, and is coloured with buckets of crimson – this will definitely root out the weak and the woozy. Although there are a couple of big (and cheap) ‘modern’ jump-scares the majority of the film’s tension comes through the satisfyingly old-school method of very slowly building a sustained and overbearing sense of dread; the film lets your imagination run wild, and shows some incredible restraint – a couple of moments even stray into ‘pure terror’. As mentioned above, it’s a very tight movie: tight script (tons of subtle clues that tie in together nicely); tight setting (claustrophobic, well-established, and inherently creepy morgue); tight cast (Hirsch and Cox are a great/safe pair of hands, with fantastic chemistry). In fact, the only thing that minorly lets the film down is the ending, which is good, but doesn’t do justice to the slow-cooker setup. A completely unrelated follow-up to the fantastic TrollHunter, Norwegian director André Øvredal is proving himself as a very strong and competent film-maker – once again his direction is meticulous, without being the slightest bit ‘auteurial’ or flashy. Few things excite me less than ‘modern horror’, yet because of its throwback sensibilities ‘Autopsy’ feels more a John Carpenter picture than the ‘Paranormal Conjuring 27’ films modern audiences are being served up.

Score: 7.5/10
The Autopsy of Jane Doe Emile Hirsch, Brian Cox, Ophelia Lovibond, Michael McElhatton, Olwen Kelly, Parker Sawyers,  André Øvredal

“Every body has a secret”

The Autopsy of Jane Doe Emile Hirsch, Brian Cox, Ophelia Lovibond, Michael McElhatton, Olwen Kelly, Parker Sawyers,  André Øvredal

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Hatchet: a boatful of tourists go on a haunted swamp tour and end up coming face to face with a local superstition… the murderous Victor Crowley. There’s some strong horror ancestry in here; Kane Hodder (Jason/Leatherface) is the main baddie, with Tony Todd (Candyman/Final Destination) and Robert Englund (among others) popping up in cameo roles. Even though this is the kind of sloppy horror premise you’ve seen a thousand times before Hatchet is different in that it’s very well made: it’s brilliantly lit, boasts supreme gore FX & inventive deaths, and has a cast full of good performances. It takes everything that people love and expect from a slasher film and turns it up to eleven: e.g. you don’t just get to see one pair of boobs, but are treated to entire line-ups of Mardi Gras waps. It’s also got a cool comedy/horror vibe in that if it wasn’t for the brutal ultra-graphic moments of cartoonishly over-the-top deaths, the film would probably be a 12A, as it’s overall quite playful and funny; the wannabe actresses in particular provide more than their fair share of the LOLz. There’s also a beautiful ‘classic’ orchestrated soundtrack that wouldn’t be out-of-place in something like Indiana Jones. Everything comes together nicely to create a movie that’s surprisingly hard to describe or define, but is undeniably fun… it’s not quite a parody, and it’s definitely not a kids film, but it’s a rip-and-roaring “Old School American Horror” – and for once, a slasher that lives up to its tagline.

Score: 7.5/10
B-Movie Score: 9/10

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Self/Less: when a terminally ill millionaire has his mind copied into a young and healthy body he gets a second chance at life… but there’s always a catch. This one has a great, high-concept idea at the core, however it deliberataly shifts lanes into a generic Bourne-type action movie instead; shying away from the higher brow sci-fi elements. It’s not all bad though as the action is to a decent standard, the story is a bit different, and because it’s a Tarsem Singh film the look and design is fantastic (although it’s nowhere near as styalised or ‘Tarsemmy’ as his other movies). The emotional scenes are also stronger than you’d expect from a film like this. Reynolds is great at portraying a new man; and I love how he isn’t afraid to take on more risky and interesting pictures than his peers: stuff like Buried, RIPD, The Nines, Deadpool. While Self/Less won’t be going down as a Sci-Fi (or action) classic, it’s a both solid and interesting enough to keep you entertained – and maybe even think a little – for two hours.

Score: 6/10

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There are very brief glimpses of Tarsem’s visual flare

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Kickboxer: Vengeance – when his brother is killed in an underground deathmatch by the brutal Tong Po, a young fighter plots his revenge with the help of a master fighter (JCVD). I love martial arts movies and despite what you’ve read elsewhere this is a solid remake. First off; there’s shitloads of fighting – as in every five minutes, fight fight fight. There’s all the punches, all the kicks, a homoerotic rain fight, workmen walking through fights with panes of glass… there’s even a couple of street / marketplace fights that remind you of something like Ong Bak. Director John Stockwell clearly knows and respects the ancestry of this film; retaining key markers like the training montages, and bringing back key cast members; he even throws in some gratuitous boobs… however, most of the cheesier elements have been dropped and the story is more (Tong) po-faced. Just when you think they missed out the infamous car crash drunk dancing scene our new lead pays his respects with some truly horrendous Van Damme jivin’ during the end credits. Casting-wise, the new lead (Moussi) isn’t much of an actor, but what he lacks in charisma he makes up for with some high end fighting/action/stunt prowess; Batista doesn’t have a whole lot to do, although he’s a larger-than-life baddie; meanwhile JCVD steals all of his scenes with his cheeky acting chops, legendary moves, and unbelievably shredded torso. My only real niggle was the weirdly flashy subtitles clearly aimed at people who don’t read subtitles!. There’s a lot of misplaced nostalgia for the original Kickboxer: it’s ultra-80s, it hasn’t aged well, didn’t actually contain much fighting or action, and was basically a showcase for JCVDs moves. Kickboxer Vengeance however is a worthwhile and respectful remake that’s short on acting but crammed full of action. A sturdy modern martial arts movie.

Score: 7/10

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The Final Girls: when a freak cinema fire leaves Max and her friends stuck inside a slasher movie she finally has a chance to re-connect with her dead ‘scream queen’ mum. The premise of the film is fantastic, allowing the movie to play with every trope from the classic slasher pictures: stock characters, language/dialogue, sounds, flashbacks, on-screen text and so on. It even gets the tiny details right, like how the ‘teenagers’ from the old film are older than teenagers. Like the original slasher films, every character is stock and all of the actors slot in to their roles perfectly; the sexed up girl’s Adderall-fueled Cherry Pie striptease was the highlight of the film for me. Director Todd Strauss Schulson handles both sides of the story with care (70s/80s era slasher nostalgia + modern cult/horror fandom) and the film looks absolutely fantastic with crazy-vibrant colours, tons of very striking visuals, and great camerawork – it sounds like a low blow, but it’s too well-made when compared to the films it’s homaging. The Final Girls is fantastic love letter to the great slashers of the 1980s; it’s great fun to watch, looks brilliant, and it can stand tall alongside recent postmodern horrors like of Tucker & Dale and Cabin in the Woods.

Score: 7.5/10

the-final-girls-camp-taissa-farmiga-malin-akerman-alexander-ludwig-nina-dobrev-alia-shawkat-thomas-middleditch-adam-devine-angela-trimbur-chloe-bridges-tory-n-thompson-lauren-gros-Todd Strauss Schulson