Nov 7, 2012
Nov 6, 2012
THE REVENANT (2012)
I don't think I've ever waited as long for a movie to come out – from first announcement to final release – as I have for Kerry Prior's The Revenant. The film, first announced back in the netherworld of 2008, has always hovered in the recesses of my mind as I waited for a release, and as 2008 became 2009, and then 2010 and so forth, from time to time that gentle, nagging question would pop into my head: hey, where the fuck's The Revenant?
Four long years it has taken for it to finally mingle with the masses. Forget all the film festival stuff and those lucky websites out there with the mojo and name recognition to obtain an early view. This shit's finally on video.
So was it worth it? Four years of waiting, perusing the usual websites for news, and even checking in with Prior himself? Could it really have been worth all of that time?
You bet your ass it was.
Back in 2008 when news first hit, The Revenant was nothing more than a zombie movie. It was hard to track down specific plot details, and beyond the movie obviously falling within the confines of horror, there was no indication of what direction the film would take. But based on what the movie seemed to be about, and more so based on who was involved (Kerry Prior – more on him in a second), I became instantly intrigued.
So, is The Revenant a zombie movie? Perhaps a vampire movie, as other reviewers have labeled it? Nah – it's neither. Obviously, it's about a revenant – a spirit that returns from the dead in corporeal form.
Barthenoy Gregory (Bart for short, played by David Anders) is a lieutenant in the US Army. While tearing ass across the desert in a Humvee smack-dab in the middle of Baghdad, he is shot down by a band of machine-gun-toting Iraqis. He receives a hero's burial, and his girlfriend, Janet (Louise Griffiths), is a mess. Bart's best friend, Joey (Chris Wylde, a seeming amalgamation of Nic Cage, Paul Giamatti, and Aaron Paul), does his best to comfort her. Then they kinda-sorta have sex.
Bart, for reasons unknown, returns from the dead and to his best friend's door. Joey is simultaneously horrified, disgusted, and overjoyed to see that his best friend has returned. Despite his horrid appearance, they act like everything is normal (though admittedly weird). But it seems Bart can't hold down normal food without spewing torrential black blood, and after a discussion of just what Bart is – zombie? vampire? ah, a revenant – it's determined he needs fresh blood to keep himself from decomposing. So off to the hospital they go, which is just the first of their many misadventures.
For the first three years or so of The Revenant's struggle for tangibility, I had no idea that it was meant to be a comedy. And three years ago, the idea of making a low budget zombie movie hadn't yet become as saturated as it is today. But in the past year, once things began heating up for Prior et al., I was surprised, and admittedly disappointed at first, to learn The Revenant was a horror/comedy hybrid. In my experience, many filmmakers try to combine the two, and for the most part, fail. Edgar Wright's Shaun of the Dead is an ingeniously screaming example of when it works. And I suppose that's the best measuring stick to use for The Revenant. It is, after all, about two slacker-like fellows (despite the one's presence in the military) trying to live life as they normally did, even though one of them is dead. Humor derives from this conflict almost effortlessly, as well as from the rapid-fire dialogue, peppered with the kind of sarcasm of which Kevin Smith was capable during his very short peak. And the humor works, every single time. Not one single joke or gag goes by that will not elicit at least a smile. For instance, after Joey takes Bart to the hospital following his recent resurrection – and after it's been well established that Bart spews blood like a geyser, had to snip off the mortician's thread keeping his lips closed, and is also most definitely dead – he writes "general malaise" for his purpose of visit on his emergency room form. And there's no way you're not laughing at that.
Prior, serving double-duty as writer and director, has absolute confidence in the story he is telling. For what was most assuredly a low budget, Prior stretches every dollar – every cent – to masterful effect. The Revenant looks like a multi-million dollar movie, including sweeping helicopter shorts, on-location shooting in both Los Angeles and Iran, and some of the best special effects I've ever seen for such a low budget. That last bit shouldn't be all that surprising, as Prior made quite a career having done special effects for such films as Phantasm II, The Abyss, and Air Force One. (It was his affiliation with the Phantasm series that had instantly piqued my interest in The Revenant's announcement way back when.) Because the bulk of the action takes place on L.A. streets, the city itself becomes a character, and Prior aids that transition with his completely fair and objective take on the City of Angels. Much like any other major city in the world, there are areas that are beautiful and completely iconic, and there are other areas that belong to the unscrupulous, the deviant, and the dangerous. Joey and Bart find themselves mingling in both worlds, but it's in that second world where they are reborn as the media-dubbed "Vigilante Gunmen," who dispatch the criminals that have it coming so Bart can have a go at "sucking them off."
All of that "big" stuff aside, what most impressed me about the film were the small details – stuff normally included in more standard movies so it can serve a purpose later. For example, for several scenes that take place in Joey's apartment, you can hear through the wall the reoccurring and shaky practicing of scales on a piano. The person playing the piano never becomes a character, is never referred to, and is never even shown. There is no reaction shot of them included to induce a cheap moment of comedy. It's just a small, perhaps unnoticed, but very appreciated detail. Because it's the soft, unsteady piano playing you hear through the wall that makes life what it is. It's the boring stuff, the mundane. We don't all live grand lives. Not all of us will one day do great things. We'll go to work, come home, make a half-hearted dinner, and hear what our neighbors are doing through the walls.
And at its root, that's what The Revenant is about. In the film's third act, Joey relents the lack of life he and Bart have lived. He talks of all the big important things they had always talked about doing, but never managed to do. And, in the middle of this very foul-mouthed, morbid buddy comedy, that's very saddening.
For most of its running time, The Revenant wants to make you laugh, and in that regard the film is a complete success. But there are also times where Prior wants us all to step back and realize that the events that have befallen our characters are actually quite tragic, and so for brief stretches there is no humor, and what we see is to be taken quite seriously. But it never interrupts the flow of what is by and large a comedy.
The Revenant ends in a surprisingly bleak and cynical fashion, which reinforces this idea of life over which Joey and Bart mourned earlier in the film. Each major character suffers an ending that, in a more typical genre movie, would be either gloriously dramatic or cheaply amusing, depending on the intended reaction. But here, in The Revenant, our characters' arcs end in very anti-climactic ways. This is not a weakness in Prior's script or intent, but once again is another confirmation that that's just life. We don't end big and bad. We don't go out in a blaze of glory. We die in the kitchen, or under a bridge. We die without last words and without having accomplished our goals, meager as they may have been.
Prior has a lot to say, and he uses The Revenant to say it. Setting the film in Los Angeles allows him to fill his script with references to different ethnicities and the difficulties that come from their co-habitation. He has a lot to say about war and our completely unsympathetic government. He has a lot to say about the human spirit and how it can become easily corrupted once someone hits what Chuck Palahniuk has dubbed "rock bottom." But he also has a lot to say about the bonds of friendship and how literally death cannot kill the love that Joey and Bart share "in a completely non-gay way."(And if there is any movie on the planet that perfectly encapsulates the mantra "bro's before hoes," it's definitely this one.)
I sincerely hope that The Revenant is just the first of many genre offerings that Prior will be gifting to us in a hopefully long career. I hope the long road to getting his directorial debut out in the world hasn't exhausted him in such a way that he's wary about working on his next project. As far as first films go, The Revenant is a remarkable achievement. It is hilarious, sarcastic, touching, sad, and angering. It takes a well-worn concept and infuses it with a tremendous amount of contagious energy.
Four years later, I have a gigantic smile on my face.
Four years later, I have a gigantic smile on my face.
Special Features
As far as features go, the DVD includes a brief behind-the-scenes look at the making of the movie. There are no sit-down interviews here, but a more fly-on-the-wall approach that mostly captures the mugging going on behind the scenes involving the two leads and the producer kind of making an ass out of himself in more than one situation. The approach to this mini making-of as well as the action captured shows that, regardless of the long battle Prior may have fought in getting the film completed, it looked like a hell of a lot of fun.
Two feature commentaries – the first with Prior and the second with the cast – as well as the trailer for this film and other Lionsgate offerings are also included.
Speaking of, I'd like to very quickly thank Lionsgate for having faith in Kerry Prior and picking this film up for release. They're a studio that gets a lot of shit for their complete whoring of the Saw series, as well as their hundreds of completely inexorable direct-to-video travesties they unleash on us year after year, but after their salvation of both this and the recent Cabin in the Woods, I have to give credit where credit is due. There is no other studio out there taking the kinds of chances that Lionsgate is taking, and so for that, they have my gratitude.
Nov 4, 2012
REVIEW: IT'S IN THE BLOOD
John Carpenter often tells a story about there being two kinds of evil in the world: The first is the otherworldly evil - the supernatural - that surrounds us; and the second is the evil inside all of us, our bloodthirsty impulses compelled by our reptile brains.
The same can be said about demons.
October (Sean Elliot) has returned to the hometown where he spent his childhood for what appears to be an annual hiking trip with his father, whom he instead refers to as "Russell" (played by the immeasurably and perpetually cool Lance Henriksen). It would seem that October avoided the family tradition of becoming sheriff of their local town and instead opted off to medical school, where his photographic memory made him quite adept at memorizing a numberless amount of medical texts. (Indeed, his own voice seems to haunt him as he attempts to help a dog ensnared in a coyote trap, and it guides him into what he needs to do to save the poor canine.) The relationship between father and son seems to be a shaky and uncomfortable one, and at first we're not really sure why. But as the hiking trip unfolds, so does the story. Through the aid of angered dialogue and hazy flashbacks, we start to put together the story as it's being fed to us. Once emotions are running high on both sides is when the "figures" (the only way I can describe them) begin to come out of hiding. And I say figures, plural, because while some are tall with alien-like slender bodies, others look like deranged mutants - a crab crossed with a hog crossed with I couldn't even say. One even appears to be made of billowing black smoke. So when a nasty fall leaves Russell unable to walk, and with these mysterious figures closing in, father and son must shake off the past that has seemed to put permanent enmity between them and fight for their very survival.
The very first thing you notice about It's in the Blood is that, for what will probably eventually be sold as a generic creature feature starring the guy who's made dozens of them already, it is strikingly directed by Scooter Downey. Right off the bat you can see that the material is being approached in as serious a manner as possible. After opening with a brief and legitimately creepy scene, we travel back in time to meet our main character. Sean Elliott's October sits quietly on the side of a road reading a text book. And you can see that October isn't your typical kid. Even as he sits and reads, and when a someone comes along to give the hitchhiking kid a ride, you can sense there's not something quite right about him. Not in a menacing or dangerous way, but in a way that makes you feel he's lived a lifetime already.
Additionally, Henriksen's first appearance is handled with equal thought. Because he is the one with recognition, so many times has he or other famous cult actors like him made their first appearance with their backs to the camera, only to turn for the big reveal so the cult audience who loves these actors can gasp and say, "Oh, it's him!" But no, this time around, Henriksen is on screen for what feels like several minutes, in the background, onscreen from the waist down, and out of focus, his voice the only sign of his presence. And it's for no other reason than because we are about to experience the unfolding of a story, which will be peeled back layer by layer. We're only given a little bit to go on at a time, and this begins with our two main leads. We're being eased into this just as they are, because while our two leads are obviously already well acquainted, the mangled history they share will finally come to light between them, just as it will for the audience.
If you've been following this blog for some time, I'm sure my utter man love for Lance Henriksen should probably be well known. He is not one of but the most underrated actor of our time. He brings his A-game to every film he is apart of, regardless of whether or not said film has even a remote chance of succeeding. Unfortunately, his work in A-List material has been relegated to cameos in the ridiculous Jennifer's Body and the very lame When A Stranger Calls remake. It pains me to see him offered so little except low budget horror that most people will never see. And it's even worse after watching him in It's in the Blood because he's so goddamned good. He effortlessly slips into the role as small town father, and his attempts to feel like, or at least come across as, a father feel absolutely genuine. He knows that shit's gone sour between the two and it's the last thing he wants. So if trying to teach his son to drive stick on a desolate road, imploring him to drive faster and faster - if that will help bring the two together, then he's willing to try it. We have seen Henriksen play the bad ass or the maniac for so long that when we see him playing a broken down, flawed character, especially one capable of showing real fear, he becomes even more humanized. We forget that he was ever Bishop, or Jesse Hooker. Russell might be the closest we've ever gotten to Frank Black. (As an aside, I wish Lance Henriksen were my friend. My life would be greatly improved by that, I think.)
It's important you know that It's in the Blood, while creepy, is a nearly brutal film to endure. Pretty paradoxical given that it's also pretty slow-burn and not terribly graphic. But it's brutal, not because of the violence, but because of the strength of the memories our two characters have tried to bury. They come back and they scream and sob in their faces and they demand to be remembered.
Scooter Downey establishes a very frantic aesthetic, as he wants to physically realize the demons residing in October and Russell's heads. He wants the audience to feel just as disoriented and grimy and haunted as our characters do, and for the most part this is achieved. Whether or not he goes a little overboard at times will obviously be decided by the viewer. Much like this year's Exit Humanity, I'm overjoyed to see a concept like this approached with such sincerity and maturity, so I can forgive the abundance of early Oliver Stone-like frenetic editing (and the, perhaps, overwrought scene of... er... impromptu necessary surgery.)
It's pretty amazing that this film is derived from the efforts of a bunch of first-timers. It is Downey's directorial debut, and Elliott's first time as writer and producer. His previous work as an actor consists of very limited screen time in a scant few films, but here he holds the screen quite handily as if he were a seasoned pro. In my experience, most young actors want only to participate in high profile projects where they can either look good doing it, or "prove" they should be taken seriously. But it takes true balls to realize a project, fund it, bring it to realization, and then on top of that, be responsible for 50% of the audience's sympathies. It's a tough order to fill, but one easily satisfied here.
Everyone involved in It's in the Blood deserves accolades, attention, and respect. It proves that Henriksen is still a force to be reckoned with (as if we needed that reminder), and it proves that, once again, all you need to make low budget horror work is brains and heart, not the almighty dollar.
It's in the Blood is now available via iTunes as well as Amazon and other VOD services.
The same can be said about demons.
October (Sean Elliot) has returned to the hometown where he spent his childhood for what appears to be an annual hiking trip with his father, whom he instead refers to as "Russell" (played by the immeasurably and perpetually cool Lance Henriksen). It would seem that October avoided the family tradition of becoming sheriff of their local town and instead opted off to medical school, where his photographic memory made him quite adept at memorizing a numberless amount of medical texts. (Indeed, his own voice seems to haunt him as he attempts to help a dog ensnared in a coyote trap, and it guides him into what he needs to do to save the poor canine.) The relationship between father and son seems to be a shaky and uncomfortable one, and at first we're not really sure why. But as the hiking trip unfolds, so does the story. Through the aid of angered dialogue and hazy flashbacks, we start to put together the story as it's being fed to us. Once emotions are running high on both sides is when the "figures" (the only way I can describe them) begin to come out of hiding. And I say figures, plural, because while some are tall with alien-like slender bodies, others look like deranged mutants - a crab crossed with a hog crossed with I couldn't even say. One even appears to be made of billowing black smoke. So when a nasty fall leaves Russell unable to walk, and with these mysterious figures closing in, father and son must shake off the past that has seemed to put permanent enmity between them and fight for their very survival.
The very first thing you notice about It's in the Blood is that, for what will probably eventually be sold as a generic creature feature starring the guy who's made dozens of them already, it is strikingly directed by Scooter Downey. Right off the bat you can see that the material is being approached in as serious a manner as possible. After opening with a brief and legitimately creepy scene, we travel back in time to meet our main character. Sean Elliott's October sits quietly on the side of a road reading a text book. And you can see that October isn't your typical kid. Even as he sits and reads, and when a someone comes along to give the hitchhiking kid a ride, you can sense there's not something quite right about him. Not in a menacing or dangerous way, but in a way that makes you feel he's lived a lifetime already.
Additionally, Henriksen's first appearance is handled with equal thought. Because he is the one with recognition, so many times has he or other famous cult actors like him made their first appearance with their backs to the camera, only to turn for the big reveal so the cult audience who loves these actors can gasp and say, "Oh, it's him!" But no, this time around, Henriksen is on screen for what feels like several minutes, in the background, onscreen from the waist down, and out of focus, his voice the only sign of his presence. And it's for no other reason than because we are about to experience the unfolding of a story, which will be peeled back layer by layer. We're only given a little bit to go on at a time, and this begins with our two main leads. We're being eased into this just as they are, because while our two leads are obviously already well acquainted, the mangled history they share will finally come to light between them, just as it will for the audience.
If you've been following this blog for some time, I'm sure my utter man love for Lance Henriksen should probably be well known. He is not one of but the most underrated actor of our time. He brings his A-game to every film he is apart of, regardless of whether or not said film has even a remote chance of succeeding. Unfortunately, his work in A-List material has been relegated to cameos in the ridiculous Jennifer's Body and the very lame When A Stranger Calls remake. It pains me to see him offered so little except low budget horror that most people will never see. And it's even worse after watching him in It's in the Blood because he's so goddamned good. He effortlessly slips into the role as small town father, and his attempts to feel like, or at least come across as, a father feel absolutely genuine. He knows that shit's gone sour between the two and it's the last thing he wants. So if trying to teach his son to drive stick on a desolate road, imploring him to drive faster and faster - if that will help bring the two together, then he's willing to try it. We have seen Henriksen play the bad ass or the maniac for so long that when we see him playing a broken down, flawed character, especially one capable of showing real fear, he becomes even more humanized. We forget that he was ever Bishop, or Jesse Hooker. Russell might be the closest we've ever gotten to Frank Black. (As an aside, I wish Lance Henriksen were my friend. My life would be greatly improved by that, I think.)
It's important you know that It's in the Blood, while creepy, is a nearly brutal film to endure. Pretty paradoxical given that it's also pretty slow-burn and not terribly graphic. But it's brutal, not because of the violence, but because of the strength of the memories our two characters have tried to bury. They come back and they scream and sob in their faces and they demand to be remembered.
Scooter Downey establishes a very frantic aesthetic, as he wants to physically realize the demons residing in October and Russell's heads. He wants the audience to feel just as disoriented and grimy and haunted as our characters do, and for the most part this is achieved. Whether or not he goes a little overboard at times will obviously be decided by the viewer. Much like this year's Exit Humanity, I'm overjoyed to see a concept like this approached with such sincerity and maturity, so I can forgive the abundance of early Oliver Stone-like frenetic editing (and the, perhaps, overwrought scene of... er... impromptu necessary surgery.)
It's pretty amazing that this film is derived from the efforts of a bunch of first-timers. It is Downey's directorial debut, and Elliott's first time as writer and producer. His previous work as an actor consists of very limited screen time in a scant few films, but here he holds the screen quite handily as if he were a seasoned pro. In my experience, most young actors want only to participate in high profile projects where they can either look good doing it, or "prove" they should be taken seriously. But it takes true balls to realize a project, fund it, bring it to realization, and then on top of that, be responsible for 50% of the audience's sympathies. It's a tough order to fill, but one easily satisfied here.
Everyone involved in It's in the Blood deserves accolades, attention, and respect. It proves that Henriksen is still a force to be reckoned with (as if we needed that reminder), and it proves that, once again, all you need to make low budget horror work is brains and heart, not the almighty dollar.
It's in the Blood is now available via iTunes as well as Amazon and other VOD services.
Nov 3, 2012
ANNOUNCEMENT: YOU ARE THE MANIAC
This Halloween YOU are the Maniac!
NEVADA CITY, CALIFORNIA – (October 22, 2012) - Mythos Labs is thrilled to announce YOU are the Maniac! the horror movie themed card game successfully crept past the initial funding milestone and is currently stalking stretch goals.
Inspired by popular slasher film franchises: Halloween, Friday the 13th, The Texas Chainsaw Massacre and modern classics like The Cabin in the Woods, YOU are the Maniac! is a horrifyingly fun card game to play with your twisted friends.
YOU are the Maniac! includes over 130 cards in 4 game decks. The cards pay homage to decades of slasher movies. “This game is made for horror fans,” said Todd Wahoske, Art Director at Mythos Labs. “Recognizable slasher archetypes are apparent. The game is fast paced and easy-to-learn. While appropriate for all levels of card game players, we’ve designed YOU are the Maniac! with casual, first- time players in mind.”
The “Give Us a Hand” campaign has raised $18,918 with 22 days remaining, at the time of writing. (Kickstarter Page.)
Website.
Email.
Twitter.
About Mythos Labs: Mythos Labs is a boutique game and technology development studio located in Nevada City, California. Offering technical and creative solutions for the game industry.For more information: Mythos Lab
Press Contact: Todd Wahoske
Nov 2, 2012
SINISTER: THE "OTHER" SOUNDTRACK
Below is a large portion of those different avant garde tracks -- including their track titles, the artists who did them, and at which points they are used in the film.
Listen to the entire playlist on Spotify.
(Spoilers should be assumed from here to the end of the post.)
Family Hanging Out '11 / BBQ '79
Artist: Ulver
Song: Silence Teaches You How To Sing
Different parts of this 24-minute track are used twice: the first time is when the family is being hung from a tree branch in their own backyard, and the second is when the family is burned in their garage. The BBQ '79 portion of the song contains the infamous and wailing vocalizations.
Pool Party '66
Artist: Judgehydrogen
Song: A Body of Water
A family is tied to lawn chairs and pulled into a pool one by one.
Sleepy Time '96
Artist: Aghast
Song: Sacrifice
Each family member slowly has his/her throat cut.
Lawn Work '86
Artist: Accurst
Song: Fragment # 9
The deranged lawn mower scene.
House Painting '12
Artist: Sunn O))) & Boris
Song: Blood Swamp
Things don't end so well for Ellison and his family with the final "footage" track that plays as his young daughter paints the house in her family's blood.
Artist: Aghast Manor
Song: Call from the Grave
Ellison discovers the attic drawings.
Artist: Aghast
Song: Enter the Hall of Ice
Ellison sees Bughuul in the backyard.
Packing / End Titles
Artist: Boards of Canada
Song: Gyroscope
Ellison burns the home movies and his family begins packing to leave, as well as makes a reprisal during the end credits. This is the song with the very unusual dragging drum beat.
Nov 1, 2012
Oct 31, 2012
DAY 31: IT'S TIME!
Is this overused?
Maybe.
Does that make it any less awesome?
No way!
Happy Halloween, readers! Watch out for those bugs and fire in your skulls!
* To those affected by Sandy, I hope your recovery is speedy.
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