The Perfect Stranger
The movie version of the bestselling novel, “Dinner With a Perfect Stranger” by David Gregory. Capturing the book’s wit, intimacy and desire to enlighten almost line for line, “THE PERFECT STRANGER” is a thought-provoking tale of one woman’s journey through the realms of doubt and disbelief - with the most unforgettable man she would ever meet.
The Texas Chainsaw Massacre
The 2003 version of The Texas Chainsaw Massacre adheres to the pure and simple slasher movie formula: Introduce a gaggle of sexy young people, make vague gestures to distinguish them–Jessica Biel (Summer Catch) wants to get married and doesn’t like pot, so she’s our moral compass–then start hacking them to pieces one by one. The visual palette includes grimy crucified dolls, fly-specked pig carcasses, body parts floating in murky jars, a tobacco-chewing redneck sheriff, and many slender beams of sunlight cutting through dank, dusty interiors. The camera lovingly photographs Biel’s tank-topped bosom and sculpted abs as she’s running in terror from a bloated, chainsaw-wielding, human-skin-wearing maniac. This remake lacks the macabre comedy of the original; it’s all about the nauseating sensation of waiting for something to jump out of the dark. Also featuring Eric Balfour (Six Feet Under) and R. Lee Ermey (Full Metal Jacket, Mail Call).
Vacancy
A confined setting is a useful tool for thriller-makers, and Vacancy is definitely boxed in: a rundown motel way, way off the Interstate, the kind of place where unsuspecting movie characters go to get stabbed to death in the shower. If Vacancy doesn’t quite live up to its Hitchcockian forbears, at least it provides 80 minutes of well-designed mayhem. You know somebody’s paying attention just from the opening credits, a clever vortex with pounding music by Paul Haslinger. Then we meet unhappy couple Luke Wilson and Kate Beckinsale, driving along in the dark and forced to stay at the Pinewood Motel after a car breakdown. There’s a night man (Frank Whaley, decadent) in the tradition of Dennis Weaver’s Touch of Evil gargoyle, but the real mess of trouble is waiting in room number 4. Director Nimrod Antal, who scored a stylish international hit with the Hungarian thriller Kontroll, squeezes maximum juice out of the Route 66 atmosphere of the motel, although the movie doesn’t get under your skin the way Kontroll did. Wilson and Beckinsale are a little too marquee-namish for this kind of heavy-breathing work, and the script doesn’t give them much to play with. But hey, it’s not that kind of movie. Where it really belongs is on the top half of a drive-in double bill, or maybe as a nightmare-scenario TV movie from the Seventies. Either way, it works.
The Hitcher
Steven Spielberg’s first feature film, 1971’s Duel, is set on a desert highway. It stars Dennis Weaver as a driver being pursued by a menacing truck, which is following him with all the vengeance of the ancient furies. In this spiritual update from 1984, C. Thomas Howell plays a guy taking a drive-away car from Chicago to San Diego. On a whim, in the rain, and against his better judgment, he picks up a hitchhiker (Rutger Hauer). The hitcher quickly admits to being a murdering psychopath, and once Howell finally gets him out of his car, he is pursued with all the vengeance of the ancient furies. We’re never sure if the hitcher is a figment of his imagination, making Howell a schizophrenic killer, or if he’s real and Howell is the random victim of a wandering madman, which is how his potential new girlfriend (Jennifer Jason Leigh) thinks of him. Either way, The Hitcher is great fun, kinda scary, and teetering on the brink of “must see.”
Unrest - After Dark Horror Fest
Alison Blanchard begins her journey to become a physician in her Gross Anatomy class, where she must confront rows of cadavers and her own fear of mortality. When the sheets are drawn back revealing her cadaver, Alison senses a presence in the lab. Her jaded professor chalks it up to first year “jitters” but her worries increase when a friend is found dead in the basement. Alison must find out the truth behind her cadaver before its angered spirit can wreak further vengeance on those who dared to disturb the body.
Blood In, Blood Out
Taylor Hackford (An Officer and a Gentleman) directed this 1993 epic about Chicano gang wars in the California prison system and the differing and tragic paths of three boyhood friends. Half-brothers Paco and Cruz grow up with their cousin Miklo in Chicano Los Angeles, and each in turn is influenced by their violent environment and the prevalence of drugs on their streets. Cruz becomes an artist but winds up tragically addicted to heroin, while Miklo serves time for murder and Paco becomes a cop, setting the stage for a confrontation between the two when Miklo is released from prison. The film strives for an epic feel but takes too long to set up its interweaving stories. It is notable, however, for some fine acting on the part of Benjamin Bratt and Damian Chiapa, as well as smaller roles by Billy Bob Thornton, Ving Rhames and Delroy Lindo. Its depictions of life in the California prison system are harrowing and powerful, and serve as the centerpiece of this urban drama.
Saw V
How do you keep a horror franchise going when your villain has been unquestionably and irrevocably killed off? That’s a conundrum any number of genre series have tackled–to varying degrees of success–and the problem facing the sadistic Saw films in its latest entry, Saw V. The filmmakers’ answer–faithful henchmen–is at first blush a savvy idea, as it allows the mayhem of original bad guy Jigsaw to continue unabated, despite the fact that he was dissected on a morgue slab in the previous film. Saw V extends the premise by having disgraced detective Hoffman (Costas Mandylor from the previous two films) don the pig mask to unleash horrific tortures on another group of seemingly unconnected strangers. Scott Patterson (Aliens in America) also returns as Hoffman’s Javert, a dogged fellow agent who escapes death in the fourth film and an ugly fate in this entry to continue his pursuit. All the elements that have made the Saw series popular with horror fans–the elaborate killing machines, the trompe l’oeil plotting, and the sociopathic judgments handed down by Jigsaw–are intact in Saw V, which is a positive for its most faithful followers, but a negative for just about everyone else. Saw V covers no new ground, expands no part of the mythology of the series and seems perfectly content to present a lifeless retread of Saw III and IV. It also suffers from the absence of Tobin Bell as Jigsaw, who despite his top billing, is glimpsed only in brief flashbacks. Bell, who could be unsettling even in the stillest moments, gave the series a gravity that kept its least plausible moments in check, and Mandylor, though game, simply cannot provide the same. What’s left is dreary and relentlessly downbeat, and to make matters worse, ends on an open note that clearly indicates that a sixth film is in the works, no matter how obvious that the diabolical ingenuity of the original Saw has been worn to the bone by its sequels. Only diehard Saw fans need to sign up for this round of Jigsaw’s games.
Requiem for a Dream
Employing shock techniques and sound design in a relentless sensory assault, Requiem for a Dream is about nothing less than the systematic destruction of hope. Based on the novel by Hubert Selby Jr., and adapted by Selby and director Darren Aronofsky, this is undoubtedly one of the most effective films ever made about the experience of drug addiction (both euphoric and nightmarish), and few would deny that Aronofsky, in following his breakthrough film Pi, has pushed the medium to a disturbing extreme, thrusting conventional narrative into a panic zone of traumatized psyches and bodies pushed to the furthest boundaries of chemical tolerance. It’s too easy to call this a cautionary tale; it’s a guided tour through hell, with Aronofsky as our bold and ruthless host. The film focuses on a quartet of doomed souls, but it’s Ellen Burstyn–in a raw and bravely triumphant performance–who most desperately embodies the downward spiral of drug abuse. As lonely widow Sara Goldfarb, she invests all of her dreams in an absurd self-help TV game show, jolting her bloodstream with diet pills and coffee while her son Harry (Jared Leto) shoots heroin with his best friend Tyrone (Marlon Wayans) and slumming girlfriend Marion (Jennifer Connelly). They’re careening toward madness at varying speeds, and Aronofsky tracks this gloomy process by endlessly repeating the imagery of their deadly routines. Tormented by her dietary regime, Sara even imagines a carnivorous refrigerator in one of the film’s most memorable scenes. And yet… does any of this have a point? Is Aronofsky telling us anything that any sane person doesn’t already know? Requiem for a Dream is a noteworthy film, but watching it twice would qualify as masochistic behavior.
The Unborn
Enter a world of unrelenting evil as terror finds a new form in The Unborn. From the producers of The Texas Chainsaw Massacre and the co-writer of The Dark Knight comes this shocking supernatural thriller about a young woman (Odette Yustman) plagued by chilling dreams and tortured by a demonic ghost that haunts her waking hours. Her only hope to break the debilitating paranormal curse is in an exorcism with spiritual advisor Sendak (Gary Oldman). See what lies beyond the doorway of our world in this non-stop nightmare of the undead…
Green Street Hooligans
After the Lord of the Rings trilogy, Elijah Wood could’ve opted for further big budget epics, but took a sharp left turn with this better-than-average B-movie. Released just after Everything is Illuminated, another offbeat entry, Wood plays journalism student Matt Buckner. In the prologue, he’s expelled from Harvard when his over-privileged roommate sets him up to take the fall for his own misdeeds. With nowhere to go, Matt decides to visit his sister, Shannon (Claire Forlani), in London. He’s already got a chip on his shoulder when he falls under the sway of Shannon’s brother-in-law, Pete (Charlie Hunnam), head of West Ham’s football “firm,” the Green Street Elite. Matt soon gets caught up in their thuggish antics—to tragic effect. In her feature debut, German-born Lexi Alexander makes a mostly convincing case for the attractions of violence to the emotionally vulnerable, as opposed to the emotionally numb pugilists of the more satirical Fight Club. Unlike David Fincher (by way of Chuck Palahniuk), she plays it straight, except for the stylized fight sequences. Consequently, humor is in short supply, but the young Brit cast, especially Leo Gregory as the surly Bovver, is charismatic and Wood makes his character as believable as possible, i.e. he may seem miscast, but that’s the point. Although there’s no (direct) correlation between the two, Green Street makes a fine taster for Bill Buford’s Among the Thugs, the ultimate dissection of the hooligan mentality.
