Hardcore Henry (Хардкор): when he is resurrected with no memory and new robotic limbs, Henry must save his kidnapped wife from a telekinetic psychopath who has plans to weaponise a robo-army. From the opening credits (graphic, but blackly comic violence) you can tell this isn’t your usual action film – most of the movie is shot from a ‘First Person’ perspective, from the point-of-view of ‘Henry’ using an intricate head-cam rig. The film is basically 90 minutes straight of Henry running / jumping / shooting / punching through a long line of obstacles; with some awesome freerunning & parkour (seemingly no wires – or brains!), and high intensity and very high quality stuntwork: the elements combine to create a truly unique and awe-inspiring action spectacle. There’s also a great anarchic/punk sensibility to the movie; anything goes, and there’s a lot of crazy & zany elements… it even using things like subtitles to make a few jokes with. The biggest problem is that when everything is up at 150% the whole time, you end up becoming a bit numb to it towards the end. Another downside of the FPS style is that the camera is very shaky and has a warped fish-eye lens which distorts a lot of the outer frame. Hardcore Henry is a film that is truly cutting edge, in that it couldn’t have even been made a couple of years ago – the only remotely close comparison you could draw would be a less offensive, but higher-octane version of the Crank films. It’s fun, impressive, and completely mental, but overall struggles to engage after a while. Best viewed after consuming a twelve pack of Red Bull.
NOTE: The entire film was spawned from this music video – if you fancy 90 mins of this, look no farther than Hardcore Henry.
The Hateful Eight: a bounty hunter and his prisoner get snowed-in at a cabin stop with six strangers, but “one of them fellas is not what he says he is”. Most of the actors get to do what they do best: grouchy Kurt grumbles magnificently; magnetic Goggins spits out redneck ramblings; Sam J does his shouty-preaching; Roth ponses around; in fact, Madsen is the only actor that doesn’t really get any good screentime. Despite the huge names, Señor Bob (Demián Bichir) steals the show for me with a ridiculously terrific comedy performance and accent. There’s some absolutely stunning exploitation gore, blood sprays, head explosions, etc, etc – all electrifying for even the most hardened splatter aficionados. As you’ll have read everywhere; the main issue with H.E. is that it’s simply far, far, far too long. It takes over 45 minutes to get to the cabin setting; an hour ‘til we get to the crux of the movie; and even with 2hr40min of dialogue heavy scenes, a narrator (voiced by QT, obvz) is still required to throw in more details – how sloppy and empty can the writing get? In fact, most people’s issues with Django seem to be applicable here too: it’s almost as if Tarantino is intentionally trolling his own audience (too many n-bombs, too long, no censorship…). Finally, a massive deal was made about resurrecting the ultra-Panavision 70mm format: but exterior shots are pretty much whiteouts, and the last two hours are confined to a cabin interior – which leaves you yearning for epic vistas. With his last few films, Tarantino is starting to come across as a ‘brat’ director (surrounded by ‘yes men’); refusing to cut out flabby parts, censor himself, or make any changes to his precious baby. Boiled down: The Hateful Eight is simply a decadent, elaborate, and extremely self-indulgent Reservoir Dogs remake: and a very testing setup for what’s essentially a room full of people shooting each other… again.
Reservoir Dogs: (Blu Ray) Follows a bunch of – not so – professional criminals after a botched heist – Tarrantino’s debut. Like his later movies this one is stuffed with obscure music, bloody violence, fragmented storytelling, and dangerously high levels of pop-culture. Harvey Keitel and Steve Buscemi lead the cast for me, but you can’t really fault anyone’s performance. It’s stylish, some of the longer shots are frighteningly smooth & effective and there’s cool ideas peppered throughout; standout being the anecdote about the drug deal being told in various situations. The realistic and brutal violence will shock some, and even for the start of his career the homage isn’t subtle. Like his other early works it’s also questionably racist – strange gamble for an up-and-coming director. The picture’s alright in parts but the sound’s quite rubbish, not worth the BD upgrade. Although the story and characters aren’t groundbreaking, you can’t deny how original the delivery and presentation are. Cult classic, and rightly so.