Green Room: when they witness a murder in a remote neo-nazi music venue crusty-punk band “The Ain’t Rights” have to fight their way out. It’s the sort of weird blurb that you’d expect from a shitty B-Movie, but this one is anything but that. The setup is a great portrayal of the Punk/DIY scene and touring life in general; whereas the main chunk of the film switches to a tense, claustrophobic cat-and-mouse thriller as the band are trapped, and the balance of power inside/outside the room shifts back and forth. The final act changes gears yet again into more of a generic hillbilly survival horror story; yet keeps up with the breath-holding, seat-grabbing set pieces. The film is littered with moments of ultra-violent ultra-gore; limbs being slashed, people being gutted, graphic gunshot wounds… which are offset with some wonderfully wicked black/morbid comedy moments; like fighting off a dog with a mic stand and getting ridiculous feedback from the PA system. Visually, the film is very slick and the director skillfully keeps the majority of the runtime confined to a the small, grotty, bar: unsurprisingly, all of the green colours have been popped out, giving it a vibrant – almost neon – wash. The entire cast is solid; it’s a great turn by Yelchin in one of his final roles, and it’s fantastic to see someone straight like Patrick Stewart play a proper ruthless peesashit baddie. Green Room exceeds all expectations for a film with its niche plot, and is handled exceptionally by the cast and director, creating a solid and effective thriller.
List of bands mentioned / referenced: I’m sure there’s more!
Fugazi, Dead Kennedys, Dillinger Escape Plan, Misfits, Black Sabbath, Simon and Garfunkel, Prince, Madonna, Slayer, Iggy Pop, Minor Threat, Distillers, Dare to Defy,
The Factory: when his daughter is taken by a kidnapper who has successfully evaded him for years the clock is ticking faster than ever for a Buffalo detective. Featuring Cusack, and a similar type of story, you may expect something like The Frozen Ground; or a movie like Insomnia, Se7en, Mystic River etc… Unfortunately, this isn’t in the same ball park. The story’s horribly clunky, and the clues/pointers are even worse – in particular a ridiculously bumbling angle about fertility and infertility which would stick out in any dialogue. The film (and detective) flounder from missed clue to missed clue before it throws up a preposterous ending – complete with flashbacks for those at the back not paying attention. The title of the film makes no sense until the last 2 minutes of the movie – which is also distracting. Character-wise you’ve got the clichéd married-to-the-job detective, rookie sidekick, and a kidnapper that should have been demented and scary (Buffalo Bill style), but was played like a comedy redneck character. Despite a promising synopsis and Cusack in the lead is not much more than a bottom of the barrel, bargain bin, by-the-numbers, straight-to-DVD, B-movie with an A-List star and some TV actors (minor characters from Dexter, Good Wife, Arrested Development).
Maniac (Original – 1980): A psychopathic killer is on a spree in New York, terrorising and scalping the public. This one bursts out the gates with two pretty graphic murders, and is evenly punctuated with some full-on eye-opening, jaw-dropping gore throughout. Once scene in particular had me completely shocked – which is a total rarity. Joe Spinell puts in a top shift as the unhinged lead; switching from feral, deranged and demented through to normal, vulnerable, childlike, and charming. The audio helps emphasise the unsettling vibes the movie gives, with creepy internal dialogue and an off-kilter synth/electro track for tension building. It’s visually strange too, with creepy mannequins, seedy New York locations, and a bizarrely open ending. Put this all together and you have a film that’s way above the standard of the genre, and arguably beyond the taste of other slashers from this era. Dark, completely bonkers, and still genuinely shocking 35 years on; Maniac is a thoroughbred slasher film that’s difficult to enjoy, easy to appreciate – but ultimately hard to recommend to anyone that doesn’t like video nasties.
The Purge: In the near future crime and unemployment are at an all-time low, thanks to the purge – 12 hours every year where all crime is legal. I loves me a good old B-Movie, and this film has it all: a strong single-concept, near-future dystopia, home invasion / terror flick. It’s 80 minutes long, and could have even cut a bit more out of the setup. There’s’ action. There’s some gore. The baddies are sufficiently scary, whilst remaining authentically ‘Kids next door’. Best of all, there’s a serious social commentary that runs through the entire movie; that makes you think about what you’d be doing in this family’s shoes. In fact, the only thing that bugged me about this was that the son was such a complete idiot-hole moron assface – who continually did the most stupid things for no reason (although it did conveniently push the plot along). The Purge is the kind of film that if you don’t buy into the conceit, you’ll completely hate it. I bought into it, and loved every minute of it.
The only two rules of Purge Club
- No government official holding Rank 10 or higher is to be murdered, harmed, have harm caused to them, or in any event brought to harm in any case.
- Weapons above Class 4 are forbidden, meaning that destructive devices (rocket launchers, grenades, bombs or missiles) and explosive materials are excluded from The Purge.
The Raid 2: Berandal (aka The Raid: Thug): following on directly from events in The Raid… after his brother is murdered the rookie SWAT member goes undercover in order to flush out the city’s dirty cops. It feels like director Gareth Evans is “doing a Tarantino” here, drawing from a lot of established Asian movie elements: the story is essentially Infernal Affairs; the themes feel like those of a fairly standard Japanese – notably Takashi Miike – gangster flick (internal power struggles, territorial battles, OTT Violence, honour, betrayal, black humour); and the visuals feel like you’re watching a modern Korean movie – e.g. Park Chan Wook – as it’s loaded with rich imagery and patterns (like the art deco ballroom and bar, sterile kitchen, snow fight) and some cartoonishly menacing enemies (‘Hammer Girl’, and the ridiculous side-combed, cane-wielding baddie) – there’s also a shitload of nods to A Bittersweet Life, from the Car/Warehouse fight to the impeccably dressed mobsters. The action scenes remain unbelievably entertaining, expertly choreographed and jaw-droppingly inventive – although shaky cam is used a lot more in this one. You never get tired watching Iko Uwais play human pinball with dozens of henchmen, exploiting the various locations, and through most of the big fights you can’t help but grab your equivalent body part that has just been mangled on-screen and shout “fuuuuck!”, every 20 seconds. Once again, there’s a good peppering of ultra-black humour to provide a little relief from the action. At 150 minutes there’s a lot that could have been cut out and not missed – from developing minor characters through to shots of nails, water, snow – although it is rigidly punctuated with big set-pieces so you never get the chance to nod off. The Raid was a powerful, gritty, relentless and raw 90-minute virtually dialoge-free history-making fight-fest that raised the bar for all action movies – and although I can understand why Evans didn’t want to just do the same again, in ‘beefing up’ The Raid 2 he has leaned a little too heavily on other director’s works, taking the edges off – and diluting – the 90-minute, 10/10 movie that’s contained in here. Niggles aside, the film is still packed with genre-defining action, cutting edge fight-choreography, and more hard-18-rated violence than you could shake a poorly-aimed shotgun at.
Edge of Darkness: when his sick daughter is gunned down, detective Tom Craven starts looking for people with a grudge against him, but maybe he wasn’t the target. This is a good-old corporation/government conspiracy film that feels like a throwback to the blunt movies of the 80s. There’s a few totally unexpected, and fairy graphic deaths that have genuine shock value, and get properly etched in your brain. The plot starts to feel like a runaway train, where the crazy and unbelievable things start piling up. We also get treated to a variety of terrible Boston accents, which make some of the dialogue difficult to catch. Gibson pulls out a decent performance, given his characters complex mental state – but everyone else can be filed under ‘hammy’ or ‘generic’. One final note, to Ray Winstone, please stop being Ray Winstone! Despite sitting on the Edge of Realism, Edge of Darkness is a decent, albeit depressingly nihilistic, action / thriller / revenge / conspiracy picture from the director that had the stones and talent to save the James Bond franchise twice.
Sunshine Cleaning: to ensure her son can get a good schooling, a struggling mum enters the lucrative, but stomach-turning, crime-scene cleanup business. The best part of this is that it’s fairly funny and upbeat considering the grim subject matter; the characters aid this most, other than the most annoying kid in history – If that was my spawn I’d have beaten him into shape by that age. Emily blunt looks great as an angsty goth, nails the accent and steals the show for me. Amy Adams was solid too – but was clearly during her ‘must have a scene in my underwear’ phase. Chloe form 24 once again plays her bread and butter TOTAL WEIRDO role – needs to diversify! The direction and story are both simple and effective, although it goes a little off-chorus in the final third, but enough groundwork was put in at the start to give this a nice indie sleeper-hit feel to it. Sunshine Cleaning cleverly walks the line between funny and serious, and successfully avoids become farcical or gloomy.