Tuesday, September 14, 2010

Review: Resident Evil: Afterlife 3D (2010)

Resident Evil: Afterlife 3D (2010)

Written and directed by Paul W.S. Anderson.
Starring Milla Jovovich, Ali Larter, Kim Coates, Shawn Roberts, Sergio Peris-Mencheta, Spencer Locke, Boris Kodjoe, Wentworth Miller and Sienna Guillory.

“She’s back…And she’s bringing a few of her friends”

As Resident Evil begins, the series heroine, Alice (Milla Jovovich), strikes at the Umbrella Corporation hidden Japanese underground headquarters. She encounters Albert Wesker (Shawn Roberts), the ruthless and superhuman base leader. Alice walks away from the attack thinking she’s finished off the Umbrella Corporation once and for all. She then sets out to regroup with her friends who are racing to find a group of survivors at a secret location called Arcadia. When she catches up with the group in Alaska, she finds only Claire Redfield who has lost her memory. The pair set out to search the Western United States seaboard for any survivors and find a small band hiding out in a prison in Los Angeles. They too have heard of Arcadia. Banding together, they attempt to escape the zombie infested city and find safety with Arcadia.



What a glorious piece of cinema dreck! For a movie about the zombie apocalypse, there sure aren’t a whole lot of zombies in Resident Evil: Afterlife 3D from writer director Paul W.S. Anderson (although some have said there are more zombies in this edition than each of the previous three). There’s a whole lot of Matrix (1999) style rip-off slow motion goodness abound however. Even “bullet-time” makes an appearance or two and the antagonist sounds and dresses like Hugo Weaving’s Agent Smith. When the vampires do make an appearance, they look suspiciously like the vampires from Guillermo Del Toro’s Blade II (2002). And there’s the addition of Axeman who more than resembles the Pyramid Head character from Christophe Gans’ Silent Hill (2006). And the heroes spend a significant amount of time hiding out in a prison fortress much like the graphic novel The Walking Dead. The fourth installment of the Resident Evil franchise is guilty of a lot of things; however, originality is not one of them.


 One thing Paul W.S. Anderson did add to the series is 3D, and he did it right. Using the same cameras as used in James Cameron’s Avatar (2009), Anderson brings Alice, Claire and the rest to life in amazing 3D cinematography. He spends a fair amount of time exploring how the newest 3D technology works. There are beautiful, lush scenes of Alice’s plan flying over Alaskan terrain that are a wonder to behold. The film has rich depth to it and the sets snap and sizzle. There’s a scene where the heroes are escaping the prison stronghold through tunnels dug beneath the foundation that provide both depth and claustrophobia. When the action begins, guns stick out of the screen, glass, bullets and debris fly in the audience’s face and water drips and rains across the screen. Much of the action is in slow motion, which some may find more annoying than appealing; however, the slow motion allows him to bring the depth and foreground into the fray and, generally, it works in the narrative’s favor. In the case of Resident Evil: Afterlife, the 3D helps the film snap, it draws the audience into the scenery and it thrills the audience with 3D spectacle.



While the 3D technique helps the script, the script itself is thin, weak and uninvolving. Much of the plot doesn’t make much sense. Details are introduced and never expanded on, explained or properly utilized in any way. Early on, Wesker removes much of Alice’s “powers” however that doesn’t stop her from surviving a head-on airplane collision with the side of a mountain, jumping fearlessly off the top of a multi-storied building and surviving the mighty blows of the towering Axeman. When Alice discovers Clair in Alaska, she is being controlled by a mysterious spider-shaped trinket. It gets removed and that’s it. Out of nowhere, the Axeman shows up dragging his axe across the city streets heading toward Alice and the gang.  While he is a visually awesome character and provides the middle act with a much needed antagonist, his purpose is just that and he is given no explanation. Character constantly act and react to move the plot forward and never in character or with realistic motive. Really, it’s all about Alice.

Thankfully, there’s enough action, creative set pieces, interesting creatures and 3D goodness to keep the film afloat and lively. It’s a fun film regardless of it many faults. Resident Evil: Afterlife is a difficult film to rate. When looked at with critical eyes, it’s a bad film with sharp window dressing; however, that window dressing proves to be engaging and exciting enabling a more relaxed sensibility to have a great time at the theater.

6 out of 10

Wednesday, September 8, 2010

Doc Rotten's 666 Revelations: Scream Queens of 1973

When discussing Scream Queens in 1973, it is impossible not to include Linda Blair as Regan MacNeil in The Exorcist. She is undeniably the most recognizable horror icon of the decade, a decade that introduces us to Bruce the shark, Michael Myers and Leatherface. Guided by William Friedkin’s Golden Globe winning direction, Blair’s performance leaves a lasting and influential mark on horror. It is rare a horror movie is recognized by the Academy of Motion Picture Arts and Sciences and the Golden Globes, but the innocent looking thirteen year old was nominated for her supporting role. Ellen Burstyn as Chris MacNeil was also nominated for lead actress. It’s a stellar year for scream queens. But they aren’t the only ones who gave memorably and commendable performances this year. Julie Christie plummets into depression and sorrow in the harrowing Don’t Look Now. Pamela Franklin faces her greatest fears in Legend of Hell House. Pam Grier leads a voodoo clan and battles William Marshall in Scream, Blacula, Scream. And Margot Kidder gives a dual performance as both Danielle and Dominique in Brian DePalma’s Sisters. Here are the six Scream Queens who made an impression on horror cinema in 1973.

JULIE CHRISTIE as LAURA BAXTER in DON’T LOOK NOW
In Nicholas Roeg’s haunting film Don’t Look Now, actress Julie Christie plays Laura Baxter who struggles to deal with the loss of her child who drowned in a pond. Her husband, John (played by Donald Sutherland), takes a job in Venice, Italy (restoring an old church) and brings her along in hopes to overcome her depression and repair their stressed relationship. While John works, Laura encounters and befriends two elderly women, one of whom is blind, psychic and claims to be in contact with her deceased daughter. While her husband is suspicious of their motives, Laura is given great comfort from the pair and continues to visit them even after tragedy strikes again upon the films conclusion. Julie Christie, a cherished, sought-after and well respected actress, brings a deep sorrow and passion to the character of Laura Baxter. In a rich, cerebral film that requires such, Christie provides a rare mature, realistic woman, simultaneously strong and fragile. Christie, who previously starred in Fahrenheit 451 (1965), returns to the genre in Demon Seed (1977).

ELLEN BURSTYN as CHRIS MACNEIL in THE EXORCIST
In a year of strong female horror roles, Ellen Burstyn is nominated for an Academy Award and a Golden Globe for her portrayal of Chris MacNeil in William Friedkin’s The Exorcist. Burstyn stars as the mother of a young teenager who is possessed by an evil spirit. Chris MacNeil is a successful, strong woman and a single mother, dealing with the stress of her job, her divorce and her blossoming teen. As the strange and frightening events that surround her daughter increase, she faces them head on, resilient When the doctors (and science) continually fail her, she fights back insisting on answers and options. After all further options prove unsuccessful, and believing her daughter is now possessed by an evil spirit, she reaches out to the church for answers, requesting an exorcism. Finding the church, like the doctors and psychiatrists before them, are hesitant to believe her plight, she fights yet again for her daughter, convincing Father Karras to move forward with her request. It is her role as the ever-vigilant mother who will never give up on her daughter that anchors the film and keeps the audience invested in the narrative. Burstyn never truly returns to genre, but does finally receive the Oscar the following year for her role in Alice Doesn’t Live Here Anymore (1974).

LINDA BLAIR as REGAN MACNEIL in THE EXORCIST
For her role as the possessed young Regan MacNeil in Exorcist, Linda Blair was nominated for Academy Award for Best Supporting Actress, she is also nominated for the Golden Globe in the same category. Unfortunately as it was learned her role was handled too heavily with special effects and voice work from Mercedes McCambridge, that the likelihood of winning diminished considerably (She does win the Golden Globe however). While such a sour downturn continues to haunt much of Linda Blair’s career, her role provides a powerful and haunting performance that deserves such recognition. As the story unfolds, she refers innocently to an invisible friend in the basement named Captain Howdy, then as the horror begins to take hold and she behaves unexpectedly or encounters unexplainable phenomenon, and she must brave the cold and unfeeling methods of modern science. The audience feels her pain along with her as she braves needles and probes and huge machines wailing loudly as they examine her. Then, when medicine fails her, a psychiatrist is brought in to examine her and he hypnotizes her in hope of speaking with the mysterious Captain Howdy. When the demon insider her is brought to the forefront, Blair’s Regan transforms into a snarling, twisted version of her previous self. From then on, she quickly becomes the possessed child most horror fans are familiar with, her face scarred with lashes from holy water, eyes glazed over white and spitting bile at the exorcists trying to save her. Hers is a brave and strong performance. Linda Blair returns to the franchise with Exorcist II: The Heretic (1977) and the genre with films like Hell Night (1981).

PAMELA FRANKLIN as FLORENCE TANNER in LEGEND OF HELL HOUSE
When Dr. Lionel Barrett (Clive Revill) is hired to investigate the haunting of the Belasco Mansion, he brings along his wife, Ann (Gayle Hunnicutt) and two different type of psychics to uncover the truth behind the supernatural events, Ben Fischer (Roddy McDowell) a physical medium and Florence Tanner, a spiritual medium. The young, attractive, naive and vulnerable Tanner is played by Pamela Franklin and it is through her that the research team (and the audience) first encounter the spirit (or perhaps spirits) inhabiting Hell House. She is in constant confrontation with Barrett who distrusts her and her methods and believes the spirits are only scientific “energy” and not spirits. Through her intent to prove Barrett wrong, and never wavering in her beliefs, she invokes the spirits, succumbs to a spiritual molestation and jeopardizes her safety. She even overcomes her own fear and faces down the spirit of the house during the film’s climax. 

PAM GRIER as LISA FORTIER in SCREAM, BLACULA, SCREAM
Pam Grier makes a striking Voodoo Queen as Lisa Fortier in Scream, Blacula, Scream. The rising star quickly shows she can hold her own against the Shakespearean trained actor playing Blacula, William Marshall. The make a formidable pair. When Mama Loa passes, her adopted apprentice, Lisa Fortier, is chosen over her own son, Willis, to be her successor. Willis resurrects Blacula to keep Lisa from becoming the new Voodoo Queen, but the black prince becomes enamored with her instead. Unlike most scream queens in similar horror features, Grier’s character is as entrenched in the supernatural workings as the antagonist and she is armed with knowledge and tools typically scripted for the likes of Professor Van Helsing as played by Peter Cushing. Not only does she battle and defeat Blacula, but she also saves the male lead from certain death as well. Bravo.

MARGOT KIDDER as DANIELLE/DOMINIQUE in SISTERS
As director Brian De Palma evolved into a respected director often compared favorably to the legendary Alfred Hitchcock, he offered the challenging role of Danielle Breton and Dominique Blanchion in the film Sisters. De Palma places Kidder in the Norman Bates role with Sisters and heavy-handily draws inspiration from Psycho (and other classic Hitchcock films). However, he brings with him a technique he soon claims as his own: the split screen. This technique is used to great effect in Sisters as it also visually represents the Danielle and Dominique’s fractured personalities, separation from each other, and simultaneous points of views throughout the film. In one of her earliest roles, Kidder leans on De Palma’s skills to illustrate the characters she is given to portray in Sisters and elevates her performance above what it may have been in other hands. Margot Kidder follows Sisters up with other Seventies horror classics such as Black Christmas (1974), The Reincarnation of Peter Proud (1975) and The Amityville Horror (1979). During this time, she is offered the lead female role in the big screen adaptation of DC Comics’ iconic costumed hero, Superman (1977), and forever becomes associated with the character Lois Lane.

Monday, September 6, 2010

Review: Machete (2010)

Machete (2010)

Written by Robert Rodriguez and Alvaro Rodriguez. Directed by Ethen Maniquis and Robert Rodriguez. Starring Danny Trejo, Robert De Niro, Jessica Alba, Steven Seagal, Michelle Rodriguez, Jeff Fahey, Cheech Marin, Don Johnson, Tom Savini and Lindsay Lohan.

Three years after the drug kingpin, Torrez (Seagal), murders his wife and child, the one-time Federale, Machete (Trejo), is now a day-laborer, illegal immigrant in small Texas town near the Mexican border. He is tricked to be part of a set-up by Booth (Fahey), being hired to assassinate extremist Senator McLaughlin (De Niro). On the run and seeking revenge, Machete finds help in the guise of a resistance fighter Luz (Rodriguez), a troubled I.C.E. agent named Sartana (Alba) and his brother who is now a Padre (Marin).


After a brutal, action-packed prologue, Machete opens to a geek-filled credit animation sequence featuring photo-centric illustrations on the cast, starting with Trejo and Seagal. When Tom Savini’s name is splattered over the screen, the target audience knows what they’re in for; those not in the know are quickly caught up with the credits “And Introducing Don Johnson.”  This is a very specific type of movie, it’s more than an over-the-top, gore-filled action flick – it’s a grindhouse picture, and proud of it. In the first ten minutes the audience has already seen multi decapitations, blood splatter and nudity for many modern R-rated Hollywood features. The movie screen practically winks and smiles as the credits end and the movie begins. It’s time to strap in and enjoy the ride.

Ethen Maniquis and Robert Rodrigues have mastered the “grindhouse” techniques employed with Rodriques’ previous effort, Planet Terror. Machete comes with the scratched print (however, much more subtle than present in the Grindhouse double feature in 2007), choppy quick-cuts and distinct retro camera angles. The dialogue is near perfect, even if it wanders into Eighties action clichés from time to time. While the action is modern, the pacing and character arcs are lifted purposely from grindhouse classics and stereotypes. Somehow, Machete is comfortable in its predictable script, like riding a favorite amusement park ride for the hundredth time. While it is never surprising, the film is thrilling and awe-inspiring with garish effects and outlandish spectacles.


Another quality that serves Machete well is character and this film is full of character. Trejo’s Federale is silent, honorable and confident. When he’s coaxed into joining a street-fight ring, he takes out his opponent without even throwing a single punch. Later he hands over the money he’s paid to take out the Senator to the Luz, leader of the resistance, so she can continue to help smuggle immigrants across the border. He also refuses to take advantage of Sartana when she comes on to him “under the influence.” However, when crossed, he’s one mean S.O.B. and will destroy anyone in his way. He chops, shoots, slices, dices, and decapitates mobster after gangster after hood.

Machete is also surrounded by a fantastic supporting cast.  Cheech Marin plays his brother who also crossed the border into the same town; however, he somehow took up the cloth, becoming a Padre. Machete turns to him when things get their worse. Marin is given the best lines in the film and provides the film some of its most laugh-out-loud moments. He also gets to step up with a tense set of action sequences as he faces a band of vigilantes and, later, Booth himself. Jessica Alba portrays Sartana, the conflicted I.C.E. agent who believes the law is right, but doesn’t like sending her brothers and sisters back to the horrors they’ve worked so hard to escape. She sees much of herself in the Federale Machete. She also relates to Michele Rodriquez’ character Luz, who may or may not be the mythical She who protects the day laborers. Rodriquez may have been born to play Luz and is given one of the best character reveal scenes when she reappears into the storyline during the conclusion. They’re a strong group of appealing characters to root for.


Opposing Machete is an equally well designed batch of villians rarely seen on the big screen this year. Steven Seagal is the best he’s been in years as Torrez the drug kingpin. He’s sleezy, mean and bad to the bone: quick to judge, quick to act and quick to kill. Seagal wears the role like an old coat, sits back and becomes the role. He is also given one of the more outrageous death scenes ever. Don Johnson turns in a fun, rewarding performance as Lt. Von Jackson, a crazed vigilante leading a small army who hunt down and execute those trespassing across the border. Robert De Niro is fantastic as Senator John McLaughlin, the extremist Senator up for re-election. He really shines during the scattered re-election commercials seen throughout the flick: pure parody. Tom Savini has a minor, but memorable role as hitman Osiris Amanpour, hired by Booth to hunt down Machete and his brother, the Padre. But the film belongs to Jeff Fahey as Michael Booth, McLaughlin’s right hand man who is in cohorts with Torrez to control trafficking across the border. He even holds his own against the legendary De Niro in a performance that may become the most memorable role of his career.

In true grindhouse fashion, the violence is cartoony and absurd. The bloodshed is rapid-fire and kenetic - quick, gory and crazy. The effects are not as gruesome, however, as Rodriquez’ Planet Terror, or even the more recent splatter-fest, Piranha 3D. They server the film in an amusing way and provide a rhythm for the story to bounce along.  If Tom Savini had made Tom and Jerry cartoons in the Eighties, this is what it would look like: flying body parts, bullet-ridden bloodshed and the hero swinging from intestines.


While the film remains larger than the sum of its parts, it struggles to become more than what it sets out to be, a grindhouse picture. At times it promises to become a bit more than that and uncharacteristically raises expectation above the exploitation. In the end it may disappoint slightly in that is never takes itself beyond what it could be. It may be a bit too comfortable in its own trappings, trappings it excels in no doubt. The film is fun, exciting, memorable and surprisingly charming; however, it could have used a bigger punch in its conclusion – at least as big a punch as it provided in the fantastic intro.

7 out of 10