14 Days of Paranoia #5: Payback (dir by Brian Hegeland)


The 1999 film, Payback, opens with Porter (Mel Gibson) lying on a kitchen table while a grubby-looking doctor digs two bullets out of his back.  The scene takes place in almost nauseating close-up, with the emphasis being put on the amount of pain that Porter endures to get rid of those bullets.  Immediately, we know that Porter is not someone who can safely go to a regular hospital.  Porter is someone who exists in the shadows of mainstream society.

He’s also someone who spends a lot of time getting beaten up.  Even back when he was still a big star, Mel Gibson always seemed to spend a good deal of his films getting beaten up and tortured in various ways and that’s certainly the case with Payback.  Porter gets punched.  Porter gets shot.  Porter has a encounter with an over-the-top dominatrix (played by Lucy Liu).  At one point, Porter allows two of his toes to be smashed by a hammer, just so he can trick the his enemies into doing something dumb.  As played by Gibson, Porter stumbles through the film and often looks like he’s coming down from a week-long bender.  It’s interesting to think that Payback is a remake of 1967’s Point Blank, which starred Lee Marvin as Walker, an unflappable career criminal who never showed a hint of emotion or weakness.  Porter, on the other hand, is visibly unstable and spends the entire film on the verge of a complete mental collapse.  A lot of people try to kill Porter and Porter kills almost all of them without a moment’s hesitation.

(Of course, both Porter and Point Blank‘s Walker are versions of Parker, a career criminal who was at the center of several crime novels written by Donald “Richard Stark” Westlake.)

After helping to pull off a $140,000 heist from a Chinese triad, Porter was betrayed and left for dead by his former friend Val Resnick (Gregg Henry) and his wife, Lynn (Deborah Kara Unger).  Porter, who just wants the $70,000 cut that he was promised, starts his quest for the money by tracking down Val and Lynn, and then continues it by going after the three bosses (played by William Devane, James Coburn, and Kris Kristofferson) of “The Outfit,” a shadowy organization that Val had gotten involved with.  Along the way, Porter deals with a motely crew of corrupt cops, violent criminals, and sleazy middlemen.  (David Paymer has a memorable bit as a low-level functionary with atrocious taste in suits.)  Porter also hooks up with a prostitute named Rosie (Maria Bello), who might be the only person that he can actually trust.

I have mixed feelings about Payback.  (So did director Brian Hegeland, who was reportedly fired towards the end of shooting and later released a far different director’s cut.)  Though the film does a good job of capturing the visual style of a good neo-noir, the story itself is so violent and grim that it actually gets a little bit boring.  The film’s advertising encouraged audiences to “Get ready to root for the bad guy,” but there’s really no reason to root for Porter.  He’s an inarticulate and ruthless killer with no sense of humor.  If anything, the people that he kills seem to be far more reasonable and likable than he does.  In Point Blank, Lee Marvin may have been a bastard but he was good at what he did and you at least got the feeling that he wouldn’t go after any innocent bystanders.  In Payback, Porter is such a mess that his continued survival is largely due to dumb luck.  It’s hard to root for an idiot.

That said, the film does do a good job of capturing the feeling of people living on the fringes of society.  The Outfit is not a typical Mafia family but instead, a collection of businessmen who work out of nice offices and, in the case of William Devane’s Carter, come across as being more of a senior executive than a crime boss.  (James Coburn and Kris Kristofferson, meanwhile, come across as being two former hippies who made it rich on Wall Street.  They’re elderly versions of Abbie Hoffman and Jerry Rubin.)  The film does a good job of creating a world where no one trusts anyone and everyone is being watched by someone.  In one memorable scene, the three men sent to watch for Porter discover that he’s been watching them the entire time.  Never forget to look over your shoulder to see who might be following.

Flaws and all, this 1999 film does a good job of capturing the atmosphere of paranoia that, for many, would come to define the early part of the 21st Century.

14 Days of Paranoia:

  1. Fast Money (1996)
  2. Deep Throat II (1974)
  3. The Passover Plot (1976)
  4. The Believers (1987)

Horror Film Review: Silent Hill: Revelation (dir by M. J. Bassett)


The 2012 video game adaptation, Silent Hill: Revelation, is gloriously silly.

It’s also a sequel to the first Silent Hill. While many members of the original cast do return and while the sequel’s plot does directly follow up on the first film, Silent Hill: Revelation still feels like an all-together different film. Whereas the first Silent Hill was atmospheric and, with its 2 hour plus running time, a bit ponderous, the sequel is short, direct, and …. well, I hate to use that word again, a bit silly. It’s also undeniably entertaining.

Sharon (Adelaide Clemens) is now 18 and is currently using the name Heather. With her father, Harry (Sean Bean), Sharon/Heather has spent the last several years of her life moving from place to place and trying to keep one step ahead of the Order, the Silent Hill cult. Heather — let’s just use that name — tries to make the best of her situation but she is 18 and she would like a chance to do normal teenager stuff as opposed to just spending her life on the run.

Good luck with that! When Harry mysteriously vanishes, Heather finds a message telling her to go to Silent Hill. Teaming up with her classmate, the enigmatic Vincent (Kit Harrington), Heather heads back to Silent Hill. She hopes to find both Harry and Rose (Radha Mitchell) but the Order has other plans. Soon, Heather and Vincent are back in the alternate dimension, dealing with monsters and stabby blind nurses.

As is typical of horror films about cults, there’s a lot of talk about sacrifices and using blood to bring about a new age and everyone worships some mysterious God who doesn’t sound all that pleasant. Whenever I watch a movie like this, I find myself wondering how the cult got started in the first place. Who woke up one day and said, “I’m going to follow the demon that regularly kills all of his followers. Now, let’s go alter some adoption records!” I also can’t help but notice that cults can never do anything the simple way. Instead, there’s always some alternate dimension or some extremely complex ritual that has to be performed and it all has to be done at a certain time of the year. Maybe if they just simplified things, they wouldn’t have so much trouble getting stuff done. Maybe instead of always trying to steal new souls, they could just be happy with the ones they have. I mean, it’s just common sense.

But anyway, back to Silent Hill: Revelation. Silent Hill: Revelation usually gets dismissed as an inadequate sequel but I was entertained. The plot moves quickly and the film features some memorably gory scenes. The scene where Heather suddenly hallucinates about Silent Hill while walking through a mall was enjoyably gruesome. At the same time, I couldn’t help but regret that Revelation never quite succeeded in duplicating that ominous atmosphere of the first film. If the first film felt like a nightmare-come-to-life, Revelation feels more like the season finale of a long-running, supernatural-themed television show. It’s fun to watch but it’s not particularly challenging. That said, Adelaide Clemens gave a sympathetic performance as Heather, Sean Bean’s natural gravitas was put to good use, and Malcolm McDowell made a brief appearance. The film kept me entertained.

Horror Film Review: Silent Hill (dir by Christophe Gans)


Oh, Silent Hill.

I first saw this movie way back in 2006, when it was first released into theaters.  At the time, I knew nothing about Silent Hill, beyond the fact that it was based on a video game that a lot of my friends seemed to like.  I have to admit that I had a really hard time following the plot and yet the film still totally creeped me out.  The film was one of those movies that created such an atmosphere of impending doom that the real world looked and felt different when I left the theater.  For the rest of that night, I found myself feeling paranoid about any sudden shadows.

I’ve watched Silent Hill or, at the very least, parts of Silent Hill a few more times over the years.  The plot still makes little sense to me, though I am now a bit more familiar with the game that inspired the film.  Over the years, a handful of the special effects have aged a bit poorly, with many of the once-fearsome monsters now looking somewhat cartoonish.  And yet, when the film works, it really, really works. There are certain scenes in this film that still surprise and frighten me, even though I’ve already seen them.  One character, for instance, is burned alive and I still have to look away when the fire consumes them.  The thing is that, even if the CGI now looks a bit cartoonish, the atmosphere remains.  That feeling dread continues to snake its way through every scene in the film and into the consciousness of the viewer.

I rewatched the film earlier today.  I’m feeling nervous tonight.  Maybe it’s just because I’ve got a lot of writing to do and we’ve got some home repair people coming by tomorrow to do some work.  Or maybe, it’s because I’m worried that I’m suddenly going to find myself in some sort of shadow world, being menaced by blind but stabby nurses.

The film opens with Rose (Radha Mitchell) and her husband, Christopher (Sean Bean) trying to figure out why their adopted daughter, Sharon (Jodelle Ferland), is sleepwalking and having nightmares about a town called Silent Hill.  Silent Hill is in West Virginia and was abandoned after a mysterious natural disaster.  Rose decides that visiting the town is the best way to solve the mystery.  However, after an automobile accident, Sharon disappears and Rose finds herself wandering around the town and getting attacked by monsters and occultists.  Meanwhile, Christopher is also wandering around Silent Hill, accompanied by a helpful deputy (Kim Coates), but it’s hard not to notice that his Silent Hill seems to be signifcantly difficult from the Silent Hill that Sharon and motorcycle police officer Cybil (Laurie Holden) have found themselves in.

It’s a confusing plot but director Christopher Gans does such a good job of creating and maintaining the film’s creepy atmosphere that it doesn’t matter that you’re not always sure what’s going on.  And while it’s true that there’s perhaps too many scenes of Sharon walking from place to place, there’s also some truly frightening scenes, like the one with all of those killer nurses.  The film plays out like a dream and, as we all know, you don’t question dream logic.  Instead, you just go with it.

And so, 15 years after the film was first released, I’m usually willing to just go with Silent Hill.  I’m at peace with never quite understanding it.  Instead, I appreciate it for what it is: a creepy and surreal experience that will make you think twice before stepping out into the fog.

The TSL’s Daily Horror Grindhouse: The Hollow (dir by Sheldon Wilson)


Syfy-movie-The-Hollow

So, earlier today, I finally got around to watching the latest SyFy original film, The Hollow.  (The Hollow originally aired last Saturday but I missed it because I was going from Halloween party to Halloween party, wandering around in chilly and wet weather without much on and eventually coming down with a cold as a result.)  Now, it may seem strange to review a made-for-TV movie as a part of a series of grindhouse film reviews but, much like They Found Hell, The Hollow probably would have played at the grindhouse if there was still a grindhouse around for it to play at.

As for the film itself, it was a story of death, curses, family dysfunction, and sisterhood.  The Hollow takes place on Shelter Island.  To be honest, just the name Shelter Island should let you know that something bad is going to happen.  I mean, Shelter Island sounds too similar to Shutter Island for it to be a totally safe place.  One hundred years ago, a legendary storm wiped out the island’s population.  Over the century, the island has recovered and new people have moved in.  But now, another storm is threatening to hit and that storm is bringing a curse with it!  Soon, the island will be attacked by monsters that appear to be made out of dirt and fire…

Of course, the monsters aren’t the only ones coming to Shelter Island.  There are three sisters as well — Sarah (Stephanie Hunt), Marley (Sarah Dugdale), and Emma (Alisha Newton).  Coming from a dysfunctional family, they’re planning on spending Halloween in a cabin on the island and working on their fractured relationship.  Unfortunately, those plans are interrupted by the arrival of the monsters.  As the sisters try to find some way to get off the island, Emma suddenly vanishes.  Sarah and Marley search for her, while dealing not only with the monster but also with other survivors, some of whom are more helpful than others.

I actually really enjoyed The Hollow.  Why?  Well, it all comes down to three things:

Number one, Shelter Island was extremely creepy!  This film is full of images of characters running through a seemingly endless forest, with all the trees enshrouded by a thick fog.  Director Sheldon Wilson took full advantage of the menacing possibilities of his location.  When it comes to a horror film — especially a low-budget one — never underestimate the importance of atmosphere.

Number two, the monsters were genuinely scary and well-done.  You never knew where they were going to suddenly show up and, as a result, you were kept off-balance throughout the entire film.

Finally, the main reason I enjoyed The Hollow was because Stephanie Hunt, Sarah Dugdale, and Alisha Newton were perfectly cast and believable as the three sisters.  I’m the youngest of four sisters and, needless to say, there were many scenes to which I could relate.  Since you believed their relationship and cared about them as characters, this brought a bit more depth to The Hollow than you might otherwise have expected.

The Hollow was a nice surprise.  Keep an eye out for it on the SyFy channel.

Back to School #63: Thirteen (dir by Catherine Hardwicke)


Have you ever seen a film and thought to yourself, “Oh my God, that’s my life?”

That’s the way I always feel whenever I see the 2003 film Thirteen.  Thirteen is one of my favorite movies but I always get uncomfortable whenever I watch it because a lot of the film hits really close to home for me.  Thirteen tells the story of 13 year-old Tracy (played, in an amazing performance, by Evan Rachel Wood) who, after befriending Evie Zamora (Nikki Reed, who also co-wrote the script along with director Catherine Hardwicke), goes wild.  Soon, Tracy is shoplifting, self-harming, experimenting with drugs and sex, and striking out at her mother, Melanie (Oscar nominee Holly Hunter).

As played by Hunter, Melanie is probably one of the best moms to ever show up in a contemporary film.  I’m tempted to say that Hunter’s performance here is the American equivalent to Sophia Loren’s work in Vittorio De Sica’s Two Women.  Melanie is not portrayed as being perfect.  Instead, she’s a recovering alcoholic who is dating a former drug addict (played by Jeremy Sisto) and she doesn’t always say the right thing and sometimes she does wish that she could just be selfish and not have to deal with her rebellious daughter.  When Evie, claiming that she’s being abused at her own home, literally moves in with Tracy, Melanie instinctively knows that Evie is a bad influence but she can’t bring herself to turn her away.  And yet, for all the mistakes that she makes, Melanie is still a good mom.  She loves her daughter and finally proves that she’s willing to sacrifice her own happiness to try to save Tracy.  Off the top of my head, I can’t tell you who won the Oscar for Best Supporting Actress of 2003, but it should have gone to Holly Hunter.

Thirteen was the directorial debut of one of my favorite director, Catherine Hardwicke.  Hardwicke doesn’t get the critical respect that she deserves, largely because she directed the first Twilight.  (Twilight, however, is not a badly directed film.  The trouble is with the source material, not Hardwicke’s direction.)  With Thirteen, Hardwicke approaches the film with a matter-of-fact directness that keep the movie grounded and prevents it from going over-the-top with its nonstop parade of delinquent behavior.

Thirteen

It’s a difficult film for me to watch because, when I was thirteen, I basically was Tracy.  I was angry at my Dad for leaving us and a part of me blamed my mom but an even bigger part of me blamed myself.  Like Tracy, I felt as if I had been abandoned and I felt as if control of my life was out of my hands.  I resented the life that I imagined I would never get to live and so, I went out of my way to make sure that everyone knew that I didn’t need them but they certainly needed me.  I struck out in whatever way I could and, looking back at it now, I know that, basically from the ages of 13 to 17, I caused a lot of unneccessary pain to the people who loved me.

Thirteen captures all of that perfectly and, therefore, it’s not easy for me to watch.  But, at the same time, I’m always glad after I do watch it because I know that I turned out okay and that gives me hope that, despite the film’s ambiguous ending, Tracy will turn out okay as well.

Thirteen2003Poster

44 Days of Paranoia #35: A Dark Truth (dir by Damian Lee)


For the latest entry in the 44 Days of Paranoia, we take a look at one of the more obscure films of 2013.  A Dark Truth was briefly released last January and it didn’t get much attention.  Having recently watched the film, I can understand why.

A Dark Truth (subtle name, no?) opens with a lengthy and disturbing scene of men, women, and children being chased through the jungle by machine gun-wielding soldiers.  As we eventually learn, the people fleeing are the citizens of a village in Ecuador and the soldiers are there on a mission to kill every single one of them.  It’s such a disturbing and well-shot sequence that I watched it with a sinking feeling because I knew that there was no way the rest of the film would be able to live up to it.

And it turns out I was right.  Director Damian Lee seemed to realize this as well because he revisits the footage every time his film starts to drag.  Unfortunately, the more we see these violent images, the less powerful they become.  By the end of the film, that whole opening sequence has lost whatever power it had simply because we’ve seen it one too many times.

It turns out that the soldiers were working for a — wait for it! — Big Evil Corporation.  It seems that this Canadian water purification company accidentally poisoned the village’s water and this led to several villagers getting sick.  An executive, who is so villainous that he’s played by Kim Coates, ordered that all the villagers be executed.  Among the few that escaped was a veteran political activist (Forest Whitaker) and his wife (Eva Longoria).

Meanwhile, in Canada, corporate executive Deborah Kara Unger finds out what the company did in Ecuador.  Wracked with guilt, she hires former CIA Agent-turned-talk radio host Andy Garcia to go down to Ecuador and rescue Whitaker.

A Dark Truth, which obviously aspires to be something more than just a conventional action thriller, is a film that starts with an exciting bang but then ends with a whimper that, even if you have managed to stay awake while watching it, you’ll barely hear.  This is one of the slowest films ever made (it certainly feels longer than 105 minutes) and the excessively stylized direction can’t make up for the fact that the film’s plot and dialogue are both painfully predictable.  About the only thing that The Dark Truth has going for it is that, while Longoria is painfully miscast, the film does feature good performances from Garcia, Whitaker, and Coates.  Best of all is Kevin Durand, who plays a hired assassin here.  Durand doesn’t get to say much  but he’s such an intimidating physical presence that he doesn’t need to say much.

Seriously, somebody needs to give Kevin Durand his own action franchise.

Other Entries In The 44 Days of Paranoia 

  1. Clonus
  2. Executive Action
  3. Winter Kills
  4. Interview With The Assassin
  5. The Trial of Lee Harvey Oswald
  6. JFK
  7. Beyond The Doors
  8. Three Days of the Condor
  9. They Saved Hitler’s Brain
  10. The Intruder
  11. Police, Adjective
  12. Burn After Reading
  13. Quiz Show
  14. Flying Blind
  15. God Told Me To
  16. Wag the Dog
  17. Cheaters
  18. Scream and Scream Again
  19. Capricorn One
  20. Seven Days In May
  21. Broken City
  22. Suddenly
  23. Pickup on South Street
  24. The Informer
  25. Chinatown
  26. Compliance
  27. The Lives of Others
  28. The Departed
  29. A Face In The Crowd
  30. Nixon
  31. The Hunger Games: Catching Fire
  32. The Purge
  33. The Stepford Wives
  34. Saboteur

Quickie Review: Stander (dir. by Bronwen Hughes)


Stander was a very good film about the real-life exploits of Andre Stander, Lee McCall and Allan Heyl who were known collectively as The Stander Gang. The Stander Gang was well-known for their daring and reckless bank robberies in their homeland of South Africa. The film stars Thomas Jane (The Punisher, The Mist) as the title character with Dexter Fletcher (Band of Brothers and Lock, Stock and Two Smoking Barrels) and David Patrick O’Hara (Braveheart, Doomsday) rounding out the rest of the Stander Gang.

The film starts off introducing Andre Stander as a highly decorated member of the South African Police Force in the late 1970’s and the beginning of the anti-apartheid movement. It shows Andre Stander’s growing disgust and disenchantment in his government’s racist apartheid policies and his own role in enforcing it. After a violent and brutal break-up of an anti-apartheid protest gathering where Stander kills a protestor, the film begins to move into meat of the story. Stander’s disenchantment with the government causes him to commit bank robberis in audacious fashion as a way to rebel and defy the very state he has sworn to protect and serve.

The scenes where Stander commits these bank robberies were shot well and showed just how daring Andre Stander really was in his exploits. There’s even a sequence where he returns to the scene of his most recent crime to investigate the robbery. A robbery he just committed just hours before during his lunchtime. These scenes and the later ones when he’s joined by two other bank robbers shows Tom Jane at his finest. I think many would be hard-pressed not to think Jane’s performance as a South African, accent and all, wasn’t authentic. His charisma ruled throughout the film and was mostly evident through the many bank robbing sequences. He truly gave Andre Stander the air of a Robin Hood character who, despite his criminal acts, became a sort of folk antihero.

The second half of the film details the exploits of Stander after his incarceration for his bank robberies while a captain of the South African Police Force. It’s here that we meet the rest of Stander’s Gang as he recruits fellow inmate and outlaws Lee McCall and Allan Heyl. Even the way Stander engineers his escape from the work-prison he has been sent to shows his daring in thumbing his nose at the state and the police he used to be a part of. Dexter Fletcher was very good as the twitchy and less stable Lee McCall whose nerves begin to fray the bolder and bolder the gangs bank robberies become. David Patrick O’Hara was also good as the very professional bank robber Allan Heyl. Heyl didn’t have the charisma that Stander had, but he was the rock which kept the robberies from spiraling out of their control. It was great to see O’Hara in another strong role. Some might recognize him as the scene-stealing Stephen, the Irish rebel who joins William Wallace’s fight against the English during Mel Gibson’s Braveheart.

The rest of the film was pretty much one bank robbery after the other with the Stander Gang always one step ahead of the police task force put together to capture them. In a twist of fate, the task force was headed by Stander’s former friend in the police force Cor Van Deverter whose intimate knowledge of Stander’s tactics and thought-processes helps in slowly closing the noose around the gang. There’s abit of a repetition in the robberies and the getaways, but they serve an important purpose of slowly building up the Stander Gang’s folk hero status amongst the population. It also showed the effect it had on some of the members of the gang. As popular and infamous the gang had become they were still outlaws who knew that sooner or later their luck would run out and they’d either be put back into prison or killed outright. For some it was the latter and for others the former.

Throughout the film, one could sense that some of the motivations behind Andre Stander’s actions as a bank robber was to assuage his guilt over the sanctioned acts of brutality he had to perform to protect the apartheid government of his nation. The film and the story being told was almost a full-length film of Stander’s attempt to make up for his past transgressions. And what better way to do this than use the system of the state against itself. He himself points out that a white man could get away with anything when most of the policemen in the city were called away to deal with an emergency regarding the black majority population. Stander realizes this to be true and his second career as a bank robber was born. The film only hints at him being a very good policeman, but the majority of the film shows just how much better he was as a criminal.

The film was expertly directed by Bronwen Hughes and as said earlier had strong performances from all the main leads in the film. The story rarely slowed down to the point that the story lost its direction. Every scene always led to the next part of the story being told until the very bitter end. Stander was a very good film anchored by a fine performance from Thomas Jane. The film showed a brief glimpse into South Africa’s apartheid past and how one individual’s decision to defy the state led to a brief, but daring life of a modern-day Robin Hood.