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.
Stitches: six years after being bullied to death at a party full of brats, Stitches the clown returns for some blood-splattering revenge. As a low-budget british comedy horror, Stitches looks way slicker than it should, and the physical old-skool horror FX are great as impressive as they are fun – very Carpenter, what with all the exploding/bursting limbs, impalement and generally gruesome and comedic deaths. The film’s other main weapon is the streak of black humour throughout; it definitely passes the Kermode 6-laugh test with ease, although it feels like there’s room for a lot much more gags. Ross Noble is the only really notable cast member (Other than Monster Munch Mary!) as the can’t-be-assed clown with a bucket full of so-bad-they’re-good puns and quips, and a taste of the ridiculous. The story’s pretty crap, bu that’s to be expected in this territory. Stitches is a passably funny slasher-at-a-party horror romp that makes up for its shortcomings by laying out some of the goriest, bloodiest and ridiculously entertaining death sequences.
Killing Them Softly: a mob ‘enforcer’ investigates the robbery of a protected card game. the style is a bizarre mix of Indie/Arthouse, and cutting-edge (often trippy) blockbuster effects and visuals. The sound mix is equally as strange, mostly through the ‘background noise’ being deliberately amplified in almost every scene. The script is very dry, boring, overly – and offensively – misogynistic, and contains characters called Frankie, Mickey, Markie – which gets hard to follow at points. Most scenes are overlong and rambly, Gandalfini in particular gets far too much time. Pitt is the best in class, everyone else coasts on mob/Australian stereotypes. Scoot McNairy – decent performance, but hands-down THE most annoying voice of the year. There’s a blatant political/economic overtone – mostly through in-picture TVs/Radios – and it’s as subtle as a brick to the face. Most frustratingly,, it plays out exactly as you know it will; with no twists, turns, surprises or originality – and you can’t root for any of the characters. Killing Them Softly is a bleak / grim / crushingly realistic mobster-procedural critique of corporate culture (where underpaid people do the dirty work, and getting a decision from the bosses is impossible – original, huh?) – unfortunately, it’s nowhere near entertainment.
Con Air: a released prisoner (former U.S. Ranger) gets caught up in a plane hijacking carried out by the criminal cargo. This is one of the best examples of ridiculous, over-the-top 90s action films (homage to 80s). There’s something about the huge fiery explosions, big loud action and epic weeping / heroic guitar licks that plunges me right into these films. Cage, despite being laughably shit and doing THE worst accent in the history of cinema, holds the film together surprisingly well. Malk is the perfect villain – whose calmness only makes him more terrifying – and his band of crazy henchmen are all gratuitously evil. Cusack is good, but his dashing young looks always make him feel miscast as an authority figure. Everything towards the end of the film (In Vegas) is beyond excessive, ludicrous, and poorly cut – but I guess that’s Vegas for you! Held together by the supercast this is a solid, big action, big entertainment, film that still holds up well.