A Quickie With Lisa Marie: Silent House (dir. by Chris Kentis and Laura Lau)


In the new horror film Silent House, Elizabeth Olsen plays Sarah, an emotionally unstable young woman who goes to her family’s old lakefront vacation home with her father.  After years of neglect, the cottage is on the verge of collapse and Sarah has been recruited to help her dad and her uncle prepare the house for collapse.  It’s obvious from the first minute that Sarah appears on-screen that she’s emotionally unstable.   Whether she’s staring out at the desolate lake or (in the first genuinely disturbing scene in a film that’s full of them) awkwardly dealing with her uncle’s blatant attempt to flirt with her, Sarah is a bundle of nerves.  When, at one point, Sarah hears something wandering around the house, her father replies that he’ll check it out because “I know how you are.” 

Unfortunately for Sarah, things are about to get a lot worst.

Shortly after Sarah is visited by a mysterious girl who claims to be a childhood friend (“I do remember you,” Sarah says at one point though she doesn’t sound too convinced herself), her father disappears and Sarah finds herself being chased through the house by a pursuer who only seems to exist in the shadows.  As she struggles to escape the house, she continually sees a silent girl watching her, just to disappear whenever Sarah tries to approach her.  Even when Sarah does manage to get out of the house, she quickly finds herself brought back against her will until finally, she discovers the dark secrets that are hidden within the house and she’s forced to confront an evil far more disturbing than she had originally suspected.

Silent House is a film with a gimmick — director Chris Kentis and Laura Lau have filmed and edited it to give the impression that the movie was shot in a single take and, therefore, all of the horror takes place in real time.  Usually, I’m not a big fan of movies that rely on gimmicks but, in this case, it actually works pretty well at giving the impression of a truly relentless thrill ride.  Fortunately, Kentis and Lau don’t just rely on the film’s gimmick to make the movie effective.  From this film, it’s obvious that they understand that taking the time to create the right atmosphere is just an important to a succesful horror film as having proverbial monster suddenly jump out of the shadows.

It helps that Elizabeth Olsen (who really should have received an Oscar nomination for Martha Marcy May Marlene) is totally believable and sympathetic as Sarah.  It takes a while to realize that Olsen is giving a great performance.  For most of the film, I just thought she was doing a good job at playing scared.  (For most actresses, being chased in a horror movie is a rite of passage.)  It was only during the final 15 minutes that it become apparent that, more than just playing frightened, Olsen was instead laying down the foundation for the film’s finale.  I’ve read some criticism claiming that the film’s final twist came out of nowhere but I actually found it to be effective and disturbingly plausible.  That is almost totally due to commitment that Olsen shows in creating the character of Sarah.

I saw Silent House earlier today with Jeff and seriously, I was so happy he was there because I spent almost the entire movie with my face buried in his shoulder.  Admittedly, I’m usually pretty jaded when it comes to gore and horror.  (For example, I saw Dale get his guts ripped out on The Walking Dead last Sunday and I may have arched an eyebrow but otherwise, it was nothing I hadn’t seen before.)  But seriously, Silent House is an intense film that, wisely, doesn’t allow logic to get in the way of being scary.  The critics can nitpick all they want on this film.  What matters is that Silent House works. 

(As a sidenote, I really hope that after this movie and Martha Marcy May Marlene, Elizaebeth Olsen takes break from running for her life and makes a nice, happy romantic comedy.  She deserves a break!)

Song of the Day: Protectors of the Earth (by Two Steps From Hell)


With Mass Effect 3 having been released to the masses earlier today it also means another official launch trailer which also happened to use a piece of music from the band Two Steps From Hell. BioWare used a song from this band to score their launch trailer for Mass Effect 2 two years ago. That song was “Heart of Courage” and it was a perfect choice made by the folks from BioWare.

This time around their latest pick from Two Steps From Hell to score their launch trailer for Mass Effect 3 would also come from the band and is also the latest choice for “Song of the Day”.

The song is “Protectors of the Earth” and if that is not an apt and perfect choice for a game whose tagline is “Take Earth Back” then I don’t know what is. For one thing it adds a level of epic grandiosity to the trailer and the visuals chosen to help highlight the strengths of the game. What better way to usher in the installment to the Mass Effect trilogy than with music will help inspire gamers to, as the game’s tagline has been pushing, “Take back Earth”.

Trailer: Mass Effect 3 (Launch Trailer)


It’s the Day of Days for gamers worldwide as one of the most-anticipated games of this generation finally comes out.

Mass Effect 3 completes the sci-fi rpg trilogy from BioWare and with each game’s release the need from gamers just continued to increase. At the stroke of midnight on March 6, 2012 EA and BioWare held official release events at four different locations around the United States as hundreds, if not thousands, of gamers braved cold nights to be the first to get their hands on the final leg of Cmdr. Shepard’s journey to save the galaxy from the extragalactic mechanical race intent on harvesting all living organisms from the galaxy as they’ve done every 50,000 years.

The last couple of weeks have seen several trailers and tv spots marketing and hyping up the game as it led to today. BioWare ends the wait by releasing one last trailer and it’s simply called the “Launch Trailer” and to say that it is epic would be just the tip of the iceberg.

Enough talking…Time to take Earth back!

Scenes I Love: The Opening of the Godfather


I was recently lucky enough to catch a showing of the classic film The Godfather at the Cinemark West Plano theater down here in DFW and, in honor of that occasion, allow me to present this scene that I love.  This is the opening of The Godfather and it’s one of the best first scenes in cinematic history.  In just a matter of minutes, director Francis Ford Coppola tells us everything that we need to know about Vito Corleone (Marlon Brando) and his business.

Add to that, I love the cat!

Scenes I Love: Dawn of the Dead (1978)


[spoilers]

Tonight’s latest episode of The Walking Dead had a climactic scene which mirrored something similar in one of my favorite films ever. I’m not talking just favorite horror film ever, but just favorite film in general with George A. Romero’s original Dawn of the Dead that was released in 1978.

This was the film which codified what to me was what every zombie apocalypse stories and films should be. It was epic in scope despite having such a small leading cast. The film’s story expanded on the rules of the zombie apocalypse but also expanded on the idea that its not even zombies who are the biggest threat to other survivors. It’s almost become a cliche in zombie films nowadays that every major threat to the main group of survivors would be bikers and/or raiders who used chopper bikes to get around.

The scene I always saw as one of my many favorites in this film occurs around the 7:00min mark after the video starts. It’s the raiders and bikers finally getting their comeuppance for bursting into the secured mall compound the survivors sacrificed so much to make their own. This scene matches the same scene spiritually since make-up effects work had improved from 1978 to 2012 where The Walking Dead lives in. the effects work may look cartoonish and fake, but it still doesn’t minimize the impact of seeing someone disemboweled and eaten while still alive and screaming.

Review: The Walking Dead S2E11 “Judge, Jury, Executioner”


“This new world is ugly. It’s harsh. It’s survival of the fittest and that’s a world I don’t want to live in.” — Dale Horvath

[some spoilers]

All the episodes since The Walking Dead returned from it’s mid-season break has shown a change in pace through most of it’s episodes. The first episode since the break looked to continue the much slower pace of the first half of the season but finished off with a literal bang and the two episodes following it up just continued this faster pace to the second half.

“Judge, Jury, Executioner” returns everyone back to the farm and has to deal with the conundrum that is Randall. The farm has become a symbol of the show hitting the breaks instead of keeping pedal to the metal. It happens once more tonight as the bulk of the episode was mostly Dale trying to convince everyone and anyone away from Rick’s decision to kill Randall. It’s a decision we’ve been expecting as Rick readily admitted it to himself and his erstwhile friend Shane in the previous episode that Randall will probably have to die to protect the group and the farm from the unknown group lurking out there.

Jeffrey DeMunn seems to have had a tough time having to play the role of Dale Horvath who was suppose to be the voice of decency and morality in a show that was veering away from such pre-zombie apocalypse notions. It’s a sort of character that will always look out of place in a world written to be lawless and tooth-and-nail survival. Most post-apocalyptic stories will always have such characters to try and keep the rest of the group from becoming savage and amoral. It’s a tough role and made even tougher when those who behave without conscience and without morals seem to look more like hardy survivors while those who try to stay decent end up being shouted down or killed outright for their naivete.

It didn’t help DeMunn that his character seemed to come off as spinning his wheels whenever he tried to speak up to the group about the dark path they’ve been traveling down since the end of the first season. Tonight went a long way to making Dale’s point of view make sense as it did show him as the only person who seemed to be the only one who wanted to hold onto his humanity in the face of apathy and amorality. Whether his ideas and point of view was correct or not doesn’t matter. He was that angel on everyone’s shoulder who was fighting for control of the group’s morality over the devil that was Shane.

While the outcome of the decision to kill Randall wasn’t too much a surprise, Rick may be learning to be pragmatic about his decision making, he still has a soft spot in trying to be a high moral role model for his son Carl and killing Randall wouldn’t be a good way to keep up that illusion. The outcome in regards to Dale was a major surprise and should continue the show’s off-the-rails decision to deviate from the comic book in terms of who lives and who dies and when it happens. Seeing the zombies attacking Dale and with him vainly keeping the snapping jaws from his face made the scene almost being set-up as a way to convince Dale that those who were going to save him were the same people he was accusing of being amoral and inhumane. So, it was a major shock when the zombie remembered it had more than just it’s snapping teeth to kill and decided to use it’s clawed fingers to rip Dale’s midsection open.

As surprising an ending that the Sophia story-arc ended up doing with the character this one with Dale was even more so.

Just like episode 8’s “Nebraska” which started off slow and was much more focused on intellectual and philosophical debates about the right and wrong things, tonight’s “Judge, Jury, Executioner” went down a similar route until an ending that also had a literal ending with a bang. With just two more episodes left in this second season of The Walking Dead Glen Mazzara and his team of writers need to close off this Greene Farm location and find a way to get the group back on the road and have it make sense. I’m much more confident that this new showrunner and writing team will pull it off than the previous regime.

Notes

  • Dale looks so lost trying to get people to listen to his talk of decency and humanity. Everyone either looks at him like he’s talking crazy or just plain tired of hearing the same litany of why the group needs to retain it’s sense of humanity. Even the one person he thought he had in his corner in Hershel pretty much admits that his convictions in the decent thing to do were mistakes.
  • I know it’s getting old, but it’s sort of hilarious watching Dale and Shane trying to sidestep the fact that when it comes down to the bones of it they both want to kill each other.
  • Good to see Hershel make a decision about Glenn and his daughter. It’s definitely a much better scene than how it was handled in the comic book.
  • It was very surprising to see Andrea suddenly switch gears and support Dale during the group’s confab inside the house. I’m still not sold on her sudden change of heart. I think some of it was Dale’s unwavering conviction and near pleading to the group not to go down a path hey may never recover, but I also think her reaction to Shane’s advice to do some sort of coup over the Rick/Hershel leadership might’ve shown Andrea to what extremes Shane would go to. She might be regretting calling Shane as her good teacher in regards to survival.
  • Carl was a major part of tonight’s episode and probably highlighted the very things that screamed “Dumb things TV kids do” for everyone watching the show.
  • The dumb things he did sneaking into the barn to get his close look a Randall and then sneaking off with Daryl’s gun off into the nearby creek and finding the zombie might be the only thing people will remember about tonight’s episode, but deeper down Carl was the very symbol of how things were taking an amoral turn for the group that Dale was railing against.
  • Carl the tv version looks to be much farther along the path of becoming a sociopath than his comic book counterpart. I think having Shane live past the first six episodes of the show and still alive with season 2 winding to a close has had a much more detrimental effect on the child of Rick and Lori Grimes than in the comic book. This makes the character much more interesting moving forward but it also could blow up in the writers face if they make him too sociopathic and amoral that redemption would be too late for the boy.
  • Daryl’s moment in the episode showed him at his worst, badass and best. Worst in how he continues to try and distance himself from the rest of the group. Badass in how he’s able to get the very info about Randall’s group when others from RIck and Shane have failed. Best in how he dealt with Dale and how he may be the one person Rick should listen to moving forward.
  • Daryl is not idealistic like Dale, but he seems to be more observant about how the group is doing and handling things than people give him credit for. He’s willing to follow Rick’s lead even if he doesn’t agree with most of it, but at the same time won’t upset the group’s leadership dynamics. The fact that he knew Shane killed Otis but not as guessing, but observing Shane the moment he got back without Otis makes Daryl less the dumb, hick redneck he’s shown to be.
  • Some people have been theorizing that killing off Dale was because Jeffrey DeMunn was a Darabont regular thus was going to be on the chopping block because of that professional relationship. If that is the case instead of a creative decision to shake up the show’s group and storyline even farther from the comic book then Laurie Holden should be worried in her role as Andrea since she is also a Darabont regular.
  • T-Dog makes an appearance and I think he had one or two throwaway lines. Please, Mazzara and writers just kill him off and bring in Tyrese who at least brings some backstory that could be mined to better effect than what T-Dog has contributed.

Trailer: The Raid: Redemption (Official and Red Band)


I wasn’t fortunate enough to be able to attend last year’s Toronto International Film Festival. If I was there I have a feeling that a little Indonesian action film would’ve been the highlight of my time at TIFF 2011. The film is The Raid (it will get the Redemption added for it’s American release) and from the look of these two trailers it just speaks the language of awesome.

All I can say is that it should put the Indonesian martial arts style Pencak Silat on Hollywood’s map the way Ong Bak did for Muay Thai a decade ago.

Quick Review: Time Bandits (dir. by Terry Gilliam)


My parents used to have some strange movies growing up. Time Bandits is one of those films that I kind of stumbled on, but grew to be one of my favorite British films. It was my gateway drug to all things Monty Python.

Produced by former Beatle George Harrison and his company, Hand Made Films and running off the success of Monty Python’s Life of Brian, Time Bandits runs off of a simple premise. The Supreme Being once had a map of all the points in time on Earth. A group of his servants steal this map in order to travel through time and use it to plunder various historical figures of their loot. Granted, it’s a strange story, but if you’ve watched anything Gilliam’s done, this film actually works (or did for me when I saw it).

Our story opens with a boy named Kevin (Craig Warnock), who dreams of a more interesting life than the one he shares with his parents while watching tv. One night, a set of little people dressed in steampunk attire climb out of his closet and threaten him bodily harm unless he tells them how to escape his dimension. They manage to locate an exit, only to be pursued by The Supreme Being, who warns them to return the map they’ve stolen from him. If I remember nothing else from this film, that one scene will always stay with me.

The crew, led by Randall (David Rappaport) arrive during Napoleon’s time (played quite convincingly by Ian Holm) and manage to become generals in his army after impressing him with a rendition of “Me and My Shadow”. This, coupled with their size helped out, I’m sure. As thanks for being part of his army, they get Napoleon drunk until he passes out and collect most of his loot before finding another time portal and leaping into Robin Hood’s time. Unfortunately for the Time Bandits, Robin Hood (John Cleese) assumes they’ve arrived to give their ill begotten goods to the poor and promptly gives it all away to them.

In the midst of figuring out their next step, the Bandits run into The Supreme Being again and distract him, giving Kevin a chance to escape on his own. However, when two portals open before him, he chooses the wrong one and ends up in Ancient Greece with King Agememnon (Sean Connery), who adopts Kevin as a Prince. Before he can fully enjoy it, however, the Bandits show up and “free” from the time period he doesn’t belong in.

There’s more to the tale, but let’s just say that the Evil Genius (one of David Warner’s best roles in my opinion – he had a knack for playing bad guys) gets wind of the Map and hatches his own plan to acquire it and use it for nefarious deeds.

The beauty of Time Bandits is the world it creates. Though grounded in real time periods, the fantasy elements are pretty interesting, much like Brazil was. Giants who wear ships on their heads, Ogres and creates with cow skulls for heads make up some of the strange visions Terry Gilliam brings to this story. Overall, it’s a fun and unique tale that’s good for at least a late night viewing, and one that I return to from time to time.

Song of the Day: Irresistible You (by Taj Mahal)


I’m surprised that this is the very first post I’ve made for “Song of the Day” that’s unfiltered blues. I’ve posted songs which have blues influence in them from blues-rock to rhythm & blues, but never just pure blues. To rectify that slight mistake I’ve picked one of my favorite blues songs from one of my favorite bluesman with Taj Mahal’s dixieland blues jazz track, “Irresistible You“.

Right from the start this song just hooks it’s upbeat blues tempo with jazz trumpets and percussion plus Taj Mahal’s raspy, lived-in vocals. Most people equate blues to dour, downbeat songs, but just one listen to “Irresistible You” should disabuse that sort of musical stereotyping. This song may sound like dixieland jazz, but it’s a blues song true and true even when the piano section show’s up later to be followed by some solo horns before it leads to the final chorus.

I’ve listened to this song for an uncounted number of times and it always reminds me of my time when I visited and vacationed in New Orleans. When down and out this song always does it’s job in picking me up and telling me everything will be alright.

Irresistible You

Your magic hands … your lovin’ eyes
Kissable lips …
Baby, mine oh mine
I’m in love … I’m in love
And I know it’s true
Tell me… who-o-o wouldn’t fall for irresistible you.

I don’t know what you got
But it’s got me and I’m hooked
Like a fish in the sea
You make eagles call from above
Make the Devil fall in love
An-a … who-o-o … irresistible you.

Ohhh, come on …
Lets walk awhile … I wanna talk …
Talk talk talk to you honey child …
You’ve been blessed …
And you’re much … too much …
There’s a wonder of a love in your touch.

Don’t ever fret …
Don’t you worry about me I’ll never regret …
How much you mean to me
I love you … I love you
My whole life through
Tell me … who-o-o w=couldn’t fall for irresistible you.

Lets twist awhile …

Don’t ever fret …
Don’t you worry about me I’ll never regret …
How much you mean to me
I love you … I love you
My whole life through
But tell me … who-o-o wouldn’t fall for irresistible you.