Sabotage: a D.E.A. legend and his off-the-rails team of undercover NARCs are being hunted down by a cartel for skimming off $10M of the gang’s money in a recent raid. I know, I know, this one’s never going to win any awards – but in a world where studios are pussying out of 18-rated movies right, left, and center this is like a breath of fresh (or rotten) air. A dark, violent, dingy film that harks back to the 70s–90s cop films that had plenty of grit and edge. From the writer of Training Day, Street Kings and End of Watch you know you’re in good hands here. Machismo’d to the rafters, there’s a whole lot of big-dick swinging, heavy swearing, ‘cop banter’ – and the women in here are strippers, ‘sluts’ or a general nuisances to the lads. The story’s not as black-and-white as it first seems, and neither are the characters – as the film balances both intense action scenes with a well-crafted thriller storyline. You either love these sort of films, or you hate ‘em; and for me, Sabotage is a decent, violent cop film with a rock-solid ensemble cast and an interesting enough story to keep you tuned in.
Evil Dead: five friends go for a remote, relaxing break at a cabin in the woods… where they accidentally unleash an angry daemon. So I’ve seen this film about ten times, yet it still gives me the willies: from the outset there’s a lot of weird, floaty camera movement as it sweeps through the woods; something spooky or shifty happens about every 2 minutes; and you couldn’t have picked a more eerie set of locations: rickety house, basement, woods. The film’s packed with masterful moments of suspense, and the old school horror soundtrack gives it a timeless quality – screeching strings. There’s a few funny bits (and black humour thread throughout), but it’s definitely more horror than comedy. Whilst Bruce Campbell isn’t the best actor in the world, his presence is something else. The film builds towards a gore filed gory gore-fest of an ending – that will satisfy the hardest of horror fans. Essentially a B-movie, made on a shoestring budget; it has more than enough going on to totally distract you from the fact that it’s so cheap and brimming with continuity errors. The Evil Dead has more atmosphere, tension and impact than 20 empty, modern, derivative horror knockoffs. Proper horror cult classic.
Le Dernier Combat (The Last Battle): every man struggles for himself in a bleak post-apocalyptic world. Shot entirely in Black and White and with no dialogue, this definitely a unique and memorable style. It looks great: the sets & costumes feel genuinely post-apocalyptic, and the actors are all interesting and peculiar, with emotive faces that lend themselves to silent film – each character’s eyes in particular tells you more than an hour of dialogue could. Despite such a grim vision of the future, there’s a healthy serving of dry, but humanistic, moments of humour and joy to provide some comic relief – the blow up doll piece is hilarious, and the “Hello” scene is cinema gold. Yet, as visually appealing and interesting as the film is, it’s equally stereotypically ‘French arthouse‘ and feels dragged out, disjointed, and pretentious at various points. Another downside is the jazz-lounge soundtrack, which is hideously dated – and with no dialogue, makes for such a crucial part of the film. For being Luc Besson‘s first film, it’s a surprisingly accurate blueprint for his career so far: ambitious, interesting, looks great, but there’s not much under the bonnet.