Red Riding Hood (2011)

A modern twist on the classic children's tale.

The Brothers Grimm wrote some of the most influential stories in the history of literature, and their fable Little Red Riding Hood is one of the popular folk tales ever. This modern interpretation takes the story and mutates it into an interesting form, playing with the characters and themes.

Valeria (Amanda Seyfried) is a girl living in a small village amongst the forests and mountains. Her life is torn by the boy she loves, Peter (Shilol Fernandez), and the one she is expected to marry, Henry (Max Irons). Valerie's family is not wealthy, her father being a woodcutter, and if she was to marry into henry's prominent family, they could attain a certain level of status and comfort. Outside of this love triangle, is the more pressing issue of a wolf that terrorizes the village. It appears during a full moon, and unless it is satisfied with an offering of livestock, it kills a member of the population. After Valerie's sister is killed, the village take up and arms and go in search of the wolf, intending to kill it. When the mob return with the head of a wolf, they think their troubles are over, but Father Solomon (Gary Oldman) turns up in time to inform them that they have killed a simple wolf, not a werewolf.

Solomon's men put the village under lock down, and start their search for the real killer, one of the people. The intensity increases as more encounters with the beast occur, and suspicion falls upon several people close to Valerie. Now, as secrets become the fuel for a ravaging fire in the village, Valerie must discover a way to end her people's suffering.

A clever take on the classic tale, Red Riding Hood falls, unfortunately, into the same category as these teen-vampire films. It is a sexualised movie, with brooding guys and beautiful girls, that seems to ooze teen angst. Performances are unmoving amongst the younger members of the cast, and viewers may find themselves wishing that the wolf just kills them all.

It must be said, however, that Gary Oldman's entrance into the film ushers in a worthwhile period, where the tension begins, and his performances lifts that of others. Director Catherine Hardwicke has done well to create a brilliant fantasy setting, that looks like a page in a child's storybook. The wooden buildings and leaning trees offer a splendid cinematography.

Many viewers will notice the Twilight similarities, such as the sweeping shots of forests from the sky, and the high-school script, but this film emerges as a stark contrast once the fantasy elements kick in alongside the classic folk elements.

Somewhere between Twilight and The Village, this film will not emerge as a cult classic, but a decent endeavour into the world of children's morality tales.

An American Werewolf In London (1981)

Classic horror from director John Landis.

Werewolves form an important part of horror cinema, acting as one of the most intriguing and bloody subjects. Lycanthropy is filled with beastly gore, uncontrollable urges, and blood lust, making it a brilliant topic for the big screen. Landis' film An American Werewolf In London is a truly brilliant, classic horror film that has stood the test of time.

Two American tourists are travelling through England before they go south into Europe, and towards Rome. When they come across a wonderfully named pub, The Slaughtered Lamb, David and Jack are met with a stony local inhabitants, who seem awfully wary of outsiders. The pair are soon sent off into the night, with only some advice to keep them company, "Beware the moon". And beware the moon indeed, because soon enough, a vicious animal attacks the two, killing Jack and injuring David. Three weeks later David awakens in a hospital in London, with scars on his body. The police are saying that an escaped lunatic actually attacked them, but David's memory is clear. Soon, the young yank starts having nightmares about running through the jungle naked, and seeing his family murdered by monsters. His doctor worries for his mental health, while his nurse falls madly in love with him.

To make matters worse, David starts seeing his dead friend Jack walking the earth, claiming to be the undead. Jack warns David that he is now a werewolf, and must kill himself in order to save others, and release Jack from the curse.

A brilliant horror film, that combines both scary moments with comedic scenes. The storyline, while quite typical, is a great foundation to the film, simple but effective. The characters and vivid, memorable, and believable, and the gore is still impressive, even today. Some of the stunts are elaborate and extensive, making for an entertaining watch.

Musically, this film is awesome. It some specific, moon-oriented classics, like Creedence Clearwater Revival's "Bad Moon Rising", and places them in juxtaposing moments in the story, creating a hilarious moment of horror.

Performances are good, although seem slightly dated. David Naughton is very good as the leading role, creating a character that is funny, charming, and pitiful at the same time.

Landis has created a film that has inspired generations of horror filmmakers, and will continue to remain as a treasured classic amongst film lovers.

Silent Hill (2006)

Supernatural horror based on the popular video game.

Game-to-film transitions are never without issue, there seems to be problem creating the same sort of experiences for viewers, that gamers have. Silent Hill, directed by Christopher Gans, follows suit.

In an effort to rid her child of excruciating nightmares and panic attacks, Rose takes her daughter Sharon to Silent Hill, as the young girl keeps mentioning the place during her fits. The town is off the map, and nearby locals warn Rose of its danger, the town was consumed by a fire in the '70s and it still burns underground now. Rose ignores the protests, and eventually has to outrun a police car in order to gain access to the forbidden town on a hill. When she arrives, she crashes after seeing a figure in the road and swerving, and awakes to find Sharon gone, and only the police woman Bennett for company. Now Rose must find her daughter amongst the carnage of Silent Hill, where monsters, falling ash, and secrets run riot. In pursuit of her is her husband and a fumbling police team.

During her search of Silent Hill, Rose crosses paths with a number of ghouls, but she also comes across other women who have lost their child, and a church group who are seemingly trying to avoid "the darkness", and fight the demon.

Many aspects of this film are impressive. First off, the monsters are wonderfully imaginative, taking on vast extremes of horror. Throughout the film, the different creatures that Rose encounters seem to increase in the level of danger that they represent, much like the game. Another positive aspect to the film, is the cinematography. The town is presented in a covering of grey ash which produces some excellent visuals, and there is some brilliant camera work to convey the misery of this place.

That being said, the most fundamental flaw in this movie is the storyline. Its trouble is that it plays out like a game, not a film. The scenes seem to be haphazardly stuck together in a level-by-level basis, and the reactions of the characters seem to be completely unbelievable.

Interestingly, this film presents some excellent gender issues. It is almost a completely female cast, and the only male characters seem to be appallingly impotent. The nature of womanhood plays a large role in the story (one of the few interesting bits), and adds to a brilliant combination of love/horror.

An interesting take on the game, but a film that lacks coherency, and follows a structure that is predictable. Worth a watch for the monsters though!

Equilibrium (2002)

Futuristic paradise, where feeling and emotion are eradicated, leaving only a totalitarian system hell-bent on exterminating any traces of rebellion.

Build up to this movie included likening it to movies like The Matrix (1999) and Minority Report (2002). While some of the elements of Equilibrium are similar, the film differs vastly from those two. Director Kurt Wimmer has opted for a far duller looking movie, in terms of cinematography, and a storyline that is far simpler.

Christian Bale plays John Preston, a decorated government operative involved in the fight against the rebellion. His job is to locate, and punish/destroy any civilians who cling to the former way of living, i.e. anyone who owns any art, music, literature, and the like. The population are given a body-altering substance, which allows them to feel no emotion, or any of the animalistic urges such as anger, lust, or rage, which caused so much of history's misery. Predictably, Preston begins to question his government's actions, after reading a book and enjoying it. He then begins to stop taking his medication, and to go against protocol by showing empathy towards the rebellion.

A worthwhile piece of science fiction, Equilibrium attempts to make a watered down, action version of more complicated movies, such as the aforementioned. Some of the action sequences and special effects are impressive, and produce a pacey movie, but the film lacks the depth needed to make it an enduring Sci-Fi classic! The dull, grey look of the movie is unappealing, and the story line's typical references to totalitarian governments become achingly cliché.

If The Matrix was too complicated, slow, and deep for you, Equilibrium could the drug you need.

The Perfect Storm (2000)

A sea-disaster film that does not sink.

Starring George Clooney, Mark Wahlberg and John C. Reilly as members of a group of fishermen who find themselves caught between two terrible storms that combine to create...the perfect storm. Set in a New England fishing town, a burly band of touch men join Captain Billy Tyne (Clooney) on a voyage out to sea, in a perilous fishing expedition. Each of the members has their own reasons for being on the ship, be it money, love, adventure, or obsession, but their motives soon become irrelevant when the pounding rains and fierce winds hit, causing their lives to come into danger.

From the outset, this film represents the humble fisherman's life authentically, representing the arduous struggle for the next big catch well. The film is filled with camaraderie and man-bonding, enough to make you feel a little awkward, but this only helps to add to the perilous atmosphere. Clooney is worthy of the lead role, providing a character portrayal that is engaging and intriguing. The crew are a decent band of men, fighting one moment, saving each other the next. John C. Reilly is particularly interesting.

The most effective element of this film is the use of water. Many of the stunts and scenes are breathtaking (excuse the pun), creating a claustrophobic and intense feeling. When the ship and crew are being beaten by the storms, it actually feels punishing, and real.

As with the majority of disaster films, the storyline plays out almost as expected, apart from the ending, which was a pleasant surprise. However, it is a film that holds ground even 11 years after its original release, and cements its place in cinematic history, if only for that infamous image of the gigantic wave with the tiny boat.

Mystic River (2003)

A gripping story of how our childhood experiences can shape our destinies.

From the acclaimed actor and director, Clint Eastwood, comes a film set in in urban Boston about three young boys who experience a childhood tragedy. One day, whilst Jimmy, Dave, and Sean are playing in the street, a car pulls up and a well dressed man confronts the boys. He reprimands them for drawing their names in wet cement, saying he is a police officer. Two of the boys say they live on the same street, but Dave says he lives on another street, so the "officer" puts him in the back of the car, saying he is going to take him to his house, and tell his mother about the boy's crime. As you may have guessed, the man is not a police officer, but a kidnapper, and he takes Dave away to a cabin in the woods, where the boy is locked in a basement and abused for four days.

The story then moves to the future, and we quickly learn how the boys' fates have played out. Sean is now a detective for the police department, Jimmy is a notorious former gangster, and Dave is a timid family man. When Jimmy's daughter is murdered during a night out, all three former friends become involved in the case. Sean (Kevin Bacon) and his partner Whitey Powers (Laurence Fishburne) investigate the murder, whilst competing against Jimmy (Sean Penn) and his gangster friends who lead their investigation. Dave (Tim Robbins) becomes a suspect in the case. As the film develops into a tense race to find the truth, all actions seem to lead back to that fateful day in their past.

What makes this film an excellent thriller, is Eastwood's penchant for drama with no fat. It sticks to a trim narrative, avoids confusing devices, and relies on the performances to drive the story. Throughout the movie, viewers may find themselves becoming more and more addicted as each scene unfolds. The dialogue is sharp and realistic, and the music is sparse, adding to the edgy feel.

Notable performances are several. Foremost, for me, is Sean Penn. His delivery and emotion is undeniably genius, making for a compelling character. Tim Robbins is darkly magnificent as the troubled Dave, taking on a persona that is both unpleasant yet pitiful. Laurence Fishburne is also worthy of mention, his plays the supporting role brilliantly, and adds a dimension of humour and aggression which is vital.

Some critics have argued that this film plays out more like a TV movie than a cinematic blockbuster. To those, I would say that Eastwood has created a film that blends the best of both those mediums. Mystic River is an enthralling tale (based on a book by Dennis Lehane), its enduring themes of childhood innocence being spoiled, and the consequences of our actions, leaves for a relevant and poignant film.

The Wrestler (2008)

The heartbreaking story of an aging wrestler who struggles to find his place in the world outside of the ring.

Outstanding director Darren Aronofsky brings a touching film that is loaded with questions about the nature of professional wrestlers, and their lives in America. Set in the trailer parks and local gyms of the U.S., this movie finds the devastating truth behind the masks, the fake fighting, and pretend props.

Randy "The Ram" (Mickey Rourke) was one of the most famous wrestlers during the 80's. He enjoyed the spoils of his success, and became obsessed with the lights, glamour, and action. To the detriment of his family, Randy dedicated his whole life to the ring, and became estranged from his family, including his daughter Stephanie (Evan Rachel Wood). The only company "The Ram" seems to find is with a local stripper called Cassidy (Marisa Tomei), who only seems to care as long as Randy buys a lap dance. Whilst taking part in the less popular, local underground wrestling scene, Randy's life also consists of working in a supermarket to make to ends meet, and pay for his humble trailer. During one match, Randy suffers a heart attack, and is told he must stop wrestling for good. It is here that the aging athlete discovers that his whole life has been lived through the eyes of his fans, and there is nothing out there for him.

An absolutely knock out film, that is the story about a man who takes a beating for a living in order to be a part of a family. His fellow wrestlers are like his brothers, and his fans are his blood, the thing that keeps him going. It is a brutal truth when Randy realises that without wrestling, his life amounts to very little. In conjunction with this, Cassidy's life as a stripper is as demeaning, being a subject of desire for others, pleasing their needs, in order to gain a life. The only difference for her is a child at home who she wants to protect.

In contrast to the bright lights and advertisement of professional wrestling, The Wrestler looks far dirtier and painful. It focuses on the desperation of the people involved, to stay at the top of their game by working out and taking steroids. Aronofsky uses handheld cameras and intimate closeups to portray the grim reality that wrestlers face.

Many may go into this film thinking it is going to be an all out action wrestling film, but it is definitely not. This is a movie that displays a story so touching and stark that it deserves the highest of accolades. Rourke is immense as Randy, both in physical and emotional terms. The camaraderie between the wrestlers is beautiful, and the strength of character that these people display is remarkable.

A truly brilliant film.