luke-346
Joined Oct 2005
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luke-346's rating
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luke-346's rating
First and foremost, I found Eden Lake a breath of fresh air. The directorial debut for James Watkins offers a slice of contemporary life that is shocking and thought provoking. It is perhaps important for those seeing this film to know that Eden Lake is no titillating-horror, it is a different breed to the various torture porn films and plethora of supernatural films that seem to be doing the rounds. The film begins with a young couple, Steve (Michael Fassbinder) & Jenny (Kelly Reilly) venturing to a lake to spend a quiet weekend, only to have it interrupted by a group of rowdy youths. The behavior of the youths prompts Steve to have a word, provoking the adolescences into being confrontational, disrespectful and menacing. From here on in the couples weekend steadily degenerates into a contemporary nightmare that will touch the very sole of every British citizen.
Various scenes and sequences in Eden Lake are shocking and during the screening two separate audience members got up and left. The deserting of individuals during a horror film can indicate the quality of the film; I like to think it's a good thing. I questioned one of the people that left and they told me that they found one particular scene too much to handle. The scene in question involved the goading of a teenager into committing an act of violence by a dominant youth. The beauty of Eden Lake lies in the fact that it takes root in the very essence of horror; it shows a world that is real and accessible; unlike a world of goblins, ghouls and zombies. The film is blatant in its attempt at tapping into contemporary societal fears; it investigates our fears of alienated youth and brutally incorporates that fear to expose our suppressed anxieties. Eden Lake depicts a world that is strikingly pertinent to the one in which live, making the film that much more disturbing. This is heightened by the scene in which we meet the parents; furthermore the ending is a chilling metaphor for "like father, like son".
People have drawn similarities to "Last House on the Left" but it reminds me of, among others, the films "A Clockwork Orange" and "La Haine" and although the gangs in those films were more organized all those films reveal a fringe of society that some of us choose to ignore, but that we all fear, and know, to exist. Eden Lake also had me thinking of many of the early 70's and 80's horrors that were often disturbing and shocking. Unfortunately Eden Lake isn't as good as those films of 30 years ago as I believe it to be too reserved. Examples of this lie in its treatment of racism - it's left up to the audience to decide, as nothing racist is muttered by any of the youths, only tenuously and cowardly alluded to by the filmmakers. The film also makes no real attempt to delve into the world of sexual humiliation or sexual torture, common place in many of the real-life crimes depicted in this film and often portrayed in many of the infamous horrors of previous decades. The language of the youths isn't that shocking, with their dialogue resembling some of the latter episodes of Grange Hill.
Despite my gripes Eden Lake is a brave film, but it does on some occasions resort to clichés and cheap plot tactics. Several times I found myself questioning the behavior and motivation of various characters, which was a shame because it distanced me from the film thus leading to me feeling too removed. The acting isn't bad and I'm sure we'll see more of all of those on show, the script is OK but some of the dialogue is waning in parts.
Eden Lake has been cited by some as a Daily Mail headline waiting to happen, something that beautifully and aptly sums it up. Although Eden Lake will not cause the controversy it deserves it will hopefully instill other filmmakers to raise the bar and push the envelope further. After all, it is only a horror film, and it fits that mould very well. If you are unsure of what constitutes horror or that recent horrors have deviated from the real-deal then go see it. Additionally, if you like to feel angry, upset and perhaps even fearful after seeing a horror then Eden Lake is the movie for you, ultimately it's a fine addition to the genre.
Various scenes and sequences in Eden Lake are shocking and during the screening two separate audience members got up and left. The deserting of individuals during a horror film can indicate the quality of the film; I like to think it's a good thing. I questioned one of the people that left and they told me that they found one particular scene too much to handle. The scene in question involved the goading of a teenager into committing an act of violence by a dominant youth. The beauty of Eden Lake lies in the fact that it takes root in the very essence of horror; it shows a world that is real and accessible; unlike a world of goblins, ghouls and zombies. The film is blatant in its attempt at tapping into contemporary societal fears; it investigates our fears of alienated youth and brutally incorporates that fear to expose our suppressed anxieties. Eden Lake depicts a world that is strikingly pertinent to the one in which live, making the film that much more disturbing. This is heightened by the scene in which we meet the parents; furthermore the ending is a chilling metaphor for "like father, like son".
People have drawn similarities to "Last House on the Left" but it reminds me of, among others, the films "A Clockwork Orange" and "La Haine" and although the gangs in those films were more organized all those films reveal a fringe of society that some of us choose to ignore, but that we all fear, and know, to exist. Eden Lake also had me thinking of many of the early 70's and 80's horrors that were often disturbing and shocking. Unfortunately Eden Lake isn't as good as those films of 30 years ago as I believe it to be too reserved. Examples of this lie in its treatment of racism - it's left up to the audience to decide, as nothing racist is muttered by any of the youths, only tenuously and cowardly alluded to by the filmmakers. The film also makes no real attempt to delve into the world of sexual humiliation or sexual torture, common place in many of the real-life crimes depicted in this film and often portrayed in many of the infamous horrors of previous decades. The language of the youths isn't that shocking, with their dialogue resembling some of the latter episodes of Grange Hill.
Despite my gripes Eden Lake is a brave film, but it does on some occasions resort to clichés and cheap plot tactics. Several times I found myself questioning the behavior and motivation of various characters, which was a shame because it distanced me from the film thus leading to me feeling too removed. The acting isn't bad and I'm sure we'll see more of all of those on show, the script is OK but some of the dialogue is waning in parts.
Eden Lake has been cited by some as a Daily Mail headline waiting to happen, something that beautifully and aptly sums it up. Although Eden Lake will not cause the controversy it deserves it will hopefully instill other filmmakers to raise the bar and push the envelope further. After all, it is only a horror film, and it fits that mould very well. If you are unsure of what constitutes horror or that recent horrors have deviated from the real-deal then go see it. Additionally, if you like to feel angry, upset and perhaps even fearful after seeing a horror then Eden Lake is the movie for you, ultimately it's a fine addition to the genre.
Released with the tagline "His name is Condor. In the next 24 hours, everyone he trusts will try to kill him." Three Days of the Condor (dir, Sidney Pollack) is a political suspense thriller first released in 1975. It is a fine example of the genre and a prominent precursor for the many similar films that have littered cinema for the past 30 years. Additionally it inspired Robert Ludlum's 1980 novel The Bourne Identity, the film is also an eerie harbinger for the world in which we now live as the final few reels reveal. The film centres on Joseph Turner (Robert Redford) code name Condor. The sign on the side of the building in which he works reads American Literary Historical Society. This is not strictly true as he is an employee of the CIA for whom looks for codes and foreign intelligence by reading books. One day Joseph leaves the building to get some lunch, upon his return he finds that every one of his work colleagues has been gunned down. He leaves the office and contacts his superiors asking to be brought in. Joseph arranges to meet his boss Higgins (Cliff Robertson) only to be shot at, he flees and kidnaps Kathy Hale (Faye Dunaway) who becomes his only ally on his quest to discover the truth.
At its heart Three Days of The Condor explores the possibilities of the moral and ethical motives of an American government post Vietnam and Watergate. It attempts to show that one man can take on the might of the government and discover and expose the truth. It is an extremely familiar premise and one that has been employed a great deal throughout this genre. Various political films of the 1970's employ similar narratives including The Parallax View (1974), The Conversation (1974), All the Presidents Men (1976) and Marathon Man (1976). As mentioned Three Days of the Condor is directed by Oscar winner Sidney Pollack (They Shoot Horses Don't they, 1969; Jeremiah Johnson, 1972; Tootsie, 1982; Out of Africa, 1985; The Firm, 1993 etc), it is for this reason and the timely nature of Three Days of the Condor that I believe it to be the best political thriller of the 1970's.
The manner in which the film is directed conveys a sense of suspense that surpasses that of its contemporary offerings. Intriguingly the film is shot mostly during the day and for the vast majority of its running time is very well lit, when trying to illicit suspense I find this a bold move by the director as daytime and well lit scenes can be very unforgiving i.e. there are no dark passages, rooms or alleyways for the protagonist to hide. This choice of film-making leaves Joseph vulnerable and perceptible and whilst many directors would probably fail at employing this method , Pollack utilizes an array of tightly framed shots, moving pans and intelligently edited action sequences to create the tension that superbly complements the films narrative. The techniques utlised by Pollack established a benchmark for the many similar films that followed over the next three decades.
The narrative is both intelligent and well structured as it never resorts to cheap tricks or conventions to further its story and because it plays out in a few days the pace is perfectly apt. The acting on show is brilliant, which should be unsurprising given that Redford is at the peak of his career. His portrayal of the isolated everyman is captivating - aiding the films ability at tapping into audiences. Faye Dunaway incorporates a sense of anguish and hesitancy that doesn't detract from her impetus as a character, but rather helps the viewer to empathise and understand her motives. Max von Sydow as Joubert, the sly and devious assassin is also brilliant. If this film was made today, this type of character would seem very old-hat, but during the 1970s it was very much in vogue, as it had me thinking of Laurence Olivier in Marathon Man and Gregory peck in The Boys from Brazil (1978). It would be unsurprising to me if other actors have drawn on Sydow's assassin for their inspiration when playing similar roles.
Finally, I would recommend Three Days of the Condor to all those that enjoy a good political thriller. If you are expecting an earlier Bourne Identity, you will be disappointed. This film is not an all out explosion action fest and nor does it depict its lead as a man of unseemly abilities; it is far better and cleverer than that. In fact, if you liked last year's Oscar nominated Michael Clayton, which interestingly stars Sydney Pollack, then you should revisit Three Days of Condor and watch the film that inspired it.
At its heart Three Days of The Condor explores the possibilities of the moral and ethical motives of an American government post Vietnam and Watergate. It attempts to show that one man can take on the might of the government and discover and expose the truth. It is an extremely familiar premise and one that has been employed a great deal throughout this genre. Various political films of the 1970's employ similar narratives including The Parallax View (1974), The Conversation (1974), All the Presidents Men (1976) and Marathon Man (1976). As mentioned Three Days of the Condor is directed by Oscar winner Sidney Pollack (They Shoot Horses Don't they, 1969; Jeremiah Johnson, 1972; Tootsie, 1982; Out of Africa, 1985; The Firm, 1993 etc), it is for this reason and the timely nature of Three Days of the Condor that I believe it to be the best political thriller of the 1970's.
The manner in which the film is directed conveys a sense of suspense that surpasses that of its contemporary offerings. Intriguingly the film is shot mostly during the day and for the vast majority of its running time is very well lit, when trying to illicit suspense I find this a bold move by the director as daytime and well lit scenes can be very unforgiving i.e. there are no dark passages, rooms or alleyways for the protagonist to hide. This choice of film-making leaves Joseph vulnerable and perceptible and whilst many directors would probably fail at employing this method , Pollack utilizes an array of tightly framed shots, moving pans and intelligently edited action sequences to create the tension that superbly complements the films narrative. The techniques utlised by Pollack established a benchmark for the many similar films that followed over the next three decades.
The narrative is both intelligent and well structured as it never resorts to cheap tricks or conventions to further its story and because it plays out in a few days the pace is perfectly apt. The acting on show is brilliant, which should be unsurprising given that Redford is at the peak of his career. His portrayal of the isolated everyman is captivating - aiding the films ability at tapping into audiences. Faye Dunaway incorporates a sense of anguish and hesitancy that doesn't detract from her impetus as a character, but rather helps the viewer to empathise and understand her motives. Max von Sydow as Joubert, the sly and devious assassin is also brilliant. If this film was made today, this type of character would seem very old-hat, but during the 1970s it was very much in vogue, as it had me thinking of Laurence Olivier in Marathon Man and Gregory peck in The Boys from Brazil (1978). It would be unsurprising to me if other actors have drawn on Sydow's assassin for their inspiration when playing similar roles.
Finally, I would recommend Three Days of the Condor to all those that enjoy a good political thriller. If you are expecting an earlier Bourne Identity, you will be disappointed. This film is not an all out explosion action fest and nor does it depict its lead as a man of unseemly abilities; it is far better and cleverer than that. In fact, if you liked last year's Oscar nominated Michael Clayton, which interestingly stars Sydney Pollack, then you should revisit Three Days of Condor and watch the film that inspired it.
Written and directed by Neil Marshall (Dog Soldiers, 2002; The Decent, 2005) I wasn't really expecting anything that would blow me away with Doomsday. The basic structure for the film is evident from its title; yes it's post-apocalyptic, dystopian and concerns mankind. Predominantly set in the near future the film depicts the aftermath of a deadly virus that took its root in Scotland. This virus leads to Scotland being quarantined and cordoned off via a huge wall and sea defences. After which the rest of the UK carries on functioning for several decades until the discovery of the virus in London. It then emerges that survivors have been spotted (from the air) on the streets of Glasgow. It is presumed that if there are survivors there must be a cure and an elite group, led by Major Eden Sinclair (Rhona Mitra), are sent into Glasgow to locate and retrieve the cure. Once there they encounter hundreds of savages that litter the streets and buildings.
In his own words Neil Marshall stated that Doomsday is homage to the post-apocalyptic films of the past, and the film is definitely a hybrid of many, if not all, of those post-apocalyptic films. There's a belief with some film-makers that the word "homage" should be replaced with the word "plagiarism" and with Doomsday, they would probably have a case. The film isn't a parody, or a pastiche and nor does it have the grace of any of the previous offerings in this genre. It is, to put it bluntly, a rip-off.
Neil Marshall heavily references John Carpenters Escape from New York (1981), some of Sinclair's dispositions and idiosyncrasies are lifted straight from the legendary Snake Pliskin including her often pining for a cigarette, the fact she has one eye and her blatant disregard for authority. The difference here is that this lead has a vagina. Doomsday also heavily draws on Mad Max (1979), Mad Max: The Road Warrior (1981) and Mad Max Beyond the Thunderdrome (1985). This is perhaps most evident from Sinclair as she is a Police officer with a dark history. Doomsday also employs a road chase that may have been an outtake from Beyond The Thunderdrome, additionally the manner in which the gangs behave and operate is lifted direct from those films. Annoyingly the film makes no attempt to cover up it's "inspired" premise i.e. an elite unit embarking on such a mission shouts of films like Aliens (1986), Predator (1987), Screamers (1995) and Marshall's own Dog Soldiers (2002).
In sticking with its plagiaristic tones a train scene echoes a scene found in Walter Hill's The Warriors (1979), the similarities to that film doesn't stop there either as both employ gritty street scenes and centre on a small group that is both segregated and hunted down. An all-time cult classic in the post-apocalyptic genre is The Omega Man (1971) and Neil Marshall doesn't leave this film untouched either with its vacated city streets, gangs' night time mentality combined with the fact that each of the films explores the notion of mankind's survival in the aftermath of a deadly virus. A more recent "deadly virus" film that's referenced is Danny Boyle's 28 Days Later (2002) and another recent dystopian film that strikes of similarities is Children of Men (2006). Doomsday also takes a medieval twist in the way of Excalibur (1981), and seeks to have the protagonist fight her way out of capture like Russell Crowe in Ridley Scott's Gladiator (2000). The manner in which the gangs scavenge for survival harks to Waterworld (1995) and their cannibalistic tendencies reminded me of Land of the Dead (2005) and The Time Machine (1960).
Ultimately I felt the film lacked any originality, but those that have not seen all of the above mentioned films might take some enjoyment in Doomsday. For me the film is far too formulaic, the characters clichéd and the script poor, Bob Hoskins as the cockney Captain Nelson is cringe worthy and the acting in general is all a little too tongue-in-cheek. Ironically a similar description would perhaps accompany all of the films mentioned, but with a cult film you do need a sense of the new and something that is both original and interesting. The only interesting point of Doomsday is trying to spot how many films have been copied.
Finally, it is safe to say that Neil Marshall cannot do cult and this is evident from the fact he has ripped-off so many other films. He is no John Carpenter, but interestingly there lies a sense of irony in the fact that when Marshall is awarded a larger budget he fails to deliver.
In his own words Neil Marshall stated that Doomsday is homage to the post-apocalyptic films of the past, and the film is definitely a hybrid of many, if not all, of those post-apocalyptic films. There's a belief with some film-makers that the word "homage" should be replaced with the word "plagiarism" and with Doomsday, they would probably have a case. The film isn't a parody, or a pastiche and nor does it have the grace of any of the previous offerings in this genre. It is, to put it bluntly, a rip-off.
Neil Marshall heavily references John Carpenters Escape from New York (1981), some of Sinclair's dispositions and idiosyncrasies are lifted straight from the legendary Snake Pliskin including her often pining for a cigarette, the fact she has one eye and her blatant disregard for authority. The difference here is that this lead has a vagina. Doomsday also heavily draws on Mad Max (1979), Mad Max: The Road Warrior (1981) and Mad Max Beyond the Thunderdrome (1985). This is perhaps most evident from Sinclair as she is a Police officer with a dark history. Doomsday also employs a road chase that may have been an outtake from Beyond The Thunderdrome, additionally the manner in which the gangs behave and operate is lifted direct from those films. Annoyingly the film makes no attempt to cover up it's "inspired" premise i.e. an elite unit embarking on such a mission shouts of films like Aliens (1986), Predator (1987), Screamers (1995) and Marshall's own Dog Soldiers (2002).
In sticking with its plagiaristic tones a train scene echoes a scene found in Walter Hill's The Warriors (1979), the similarities to that film doesn't stop there either as both employ gritty street scenes and centre on a small group that is both segregated and hunted down. An all-time cult classic in the post-apocalyptic genre is The Omega Man (1971) and Neil Marshall doesn't leave this film untouched either with its vacated city streets, gangs' night time mentality combined with the fact that each of the films explores the notion of mankind's survival in the aftermath of a deadly virus. A more recent "deadly virus" film that's referenced is Danny Boyle's 28 Days Later (2002) and another recent dystopian film that strikes of similarities is Children of Men (2006). Doomsday also takes a medieval twist in the way of Excalibur (1981), and seeks to have the protagonist fight her way out of capture like Russell Crowe in Ridley Scott's Gladiator (2000). The manner in which the gangs scavenge for survival harks to Waterworld (1995) and their cannibalistic tendencies reminded me of Land of the Dead (2005) and The Time Machine (1960).
Ultimately I felt the film lacked any originality, but those that have not seen all of the above mentioned films might take some enjoyment in Doomsday. For me the film is far too formulaic, the characters clichéd and the script poor, Bob Hoskins as the cockney Captain Nelson is cringe worthy and the acting in general is all a little too tongue-in-cheek. Ironically a similar description would perhaps accompany all of the films mentioned, but with a cult film you do need a sense of the new and something that is both original and interesting. The only interesting point of Doomsday is trying to spot how many films have been copied.
Finally, it is safe to say that Neil Marshall cannot do cult and this is evident from the fact he has ripped-off so many other films. He is no John Carpenter, but interestingly there lies a sense of irony in the fact that when Marshall is awarded a larger budget he fails to deliver.