The Evil Dead (1981)

Directorial debut from Sam Raimi, about a group of friends staying in a remote cabin, who unearth an evil secret.

Cult horror films often survive amongst the plethora of other gore movies because they have elements that make them special. Raimi’s The Evil Dead can be considered one of these because it remained true to the genre, and offered something which viewers found, and can still find, disturbingly entertaining.

Not much needs to be said about the plot, just that five people go on a trip to a cabin, and find an ancient book there. After reading some of the spooky extracts, weird things start to happen, and they become possessed by evil. It’s simple and abides by the golden rule of horror: throw in enough oozing blood and you can gloss over any patchy story.

What should be commended about Raimi’s film is his outstanding use of special effects. Some scenes within The Evil Dead are spectacular to watch, even to a modern audience used to all the techniques of today’s filming, and the use of older methods seems to make the horror all the more effective. The aforementioned oozing blood has a relentlessness to it that maintains this atmosphere of unearthly terror, and the make-up artists must have had a lot of fun creating these possessed campers that look like a cross between clowns and zombies.

The Evil Dead is what you want from a horror film: it doesn’t try to be too smart, or offer up lots of character backstory which becomes irrelevant when a player is decapitated by a shovel. Instead, Raimi offers up a smorgasbord of horror and panic, plenty of blood and guts, and a brutality when it comes to killing off main characters.

Guess Who (2005)

A Rom-Com with plenty of outrageousness, about a black father “welcoming” his daughter’s new white boyfriend to the family.

Bernie Mac plays the protective dad, Percy Jones; a man proud of his life, and protective of his kin. Before a planned renewal of their vows, Percy and wife invites their daughter (Zoë Saldana), and new boyfriend Simon (Ashton Kutcher), to come stay at the family home in order to help with the preparations. When Simon arrives at the door, Percy mistakes him for the cab driver, ordering him to take the luggage to the front door, whilst making an overly friendly greeting with the actual cab driver (who happens to be black). Once the misunderstanding has been announced, Percy begins a careful interrogation of this young man.

Full of hackneyed script moments, and unoriginal plot twists, Guess Who is a tepid attempt at a comedy film. Whilst the film’s ulterior motive (to announce to the world that yes, even in America there is still some awkwardness between races) is mildly noble, the result is an uncomfortable and clumsy movie.

Mac gives off plenty of steam throughout the film, launching into tirades about the shortcomings of Simon, but instead of offering a sympathetic, or even believable, character, we are left with some kind of miser who seems outdated. Kutcher plays the boy-next-door well enough, giving some moments of embarrassing-yourself-in-front-of-the-future-in-laws successfully, but ultimately his character fails to pull through as the dominant force, instead leaving it to Percy (whose redemption becomes, sadly, the main point).

Saldana is underused in this film, giving her only the torn girl who wants to impress her father, whilst standing by her future husband. Small snippets of gold emerge during her questions about mixed-raced relationships, but these fall away quickly, and go unexplored.

A disappointing film with an overtly preachy message.

Snake Eyes (1998)

Brian De Palma directs this crime thriller, starring Nicolas Cage as a crooked Atlantic City detective, caught up in a murder conspiracy within the confines of a glamorous casino.

During a prestigious boxing match, an important government official is assassinated, making the whole of this Atlantic City casino a crime scene. Rick Santoro (Cage), who was there mainly to make money from illegal gambling on the fight, becomes caught up in the search for the killer. His friend, and fellow law enforcement official, Kevin (Gary Senise), was supposed to be body-guarding the politician, so Santoro uses his expertise in being a crooked cop in order to protect Kevin.

As Santoro chases the only few leads he has, the conspiracy thickens, and more murders follow.

Truly reflective of the nineties style, Snake Eyes has a sense of indulgence about it, which could only fit a film of this time. De Palma’s use of overly long filming sequences and mounting tension with theatrical melodrama seems like nostalgic luxury to the modern viewer. However, anyone in their twenties or older, will still enjoy the form, and the suspenseful plot (similar in ilk to a Hitchcock), which is thrilling throughout.

Cage gives an varied performance, offering the film a degree of levity in places, which would be missing from other action stars. Senise, always a good choice for the complex character, is a worthy match for Cage, and the two create some brilliant moments of banter.

A little on the twee side in places, Snake Eyes is still an enjoyable nineties murder mystery, and evidence of De Palma’s ability to make an enduring film for the crime genre.

A Dangerous Method (2012)

Revealing the fraught relationship between the two fathers of psychoanalysis, Sigmund Freud and Carl Jung, A Dangerous Method is an intense drama from acclaimed director David Cronenberg.

Much exists in popular culture about Freud: his work in the field of psychology, his predilection for sexuality being the root cause for most of our behaviour. However, less is known, or indeed spoken about, the work of his rival/friend Carl Jung, an equally brilliant man of psychology, one whose ferocity and optimism within the field went largely unnoticed. This relationship between the two great minds is the basis for Cronenberg’s film.

The magnificent Michael Fassbender plays Jung, during several key stages in his career. We see an early man of medicine, whose attempts to cure a mentally disturbed Keira Knightly are successful. His troubled attachment to Knightly’s character also become an important debate within the film, as Jung is a married man, but his deeper sexual impulses, along with some pushing from various sources, lead him to commit adultery.

Once Jung is introduced to the notorious Sigmund Freud (Viggo Mortensen), the film kicks up a gear, and the intense battle of intellects begins. The two differ on key aspects of their work: in particular, Jung rejects Freud’s notion that everything comes down to sex. But the differences go further, as Freud’s pessimistic out view on the world, and the place for psychology, seems at loggerheads with Jung’s idealistic notions of exploring the almost supernatural elements of our psyche.

The raging debate between these two geniuses, as well as the darkly troubled character of Sabina (Knightly), are the plotlines for the film. There is not really a typical structure, no great moments of suspense or action, no terrible act of atrocity to give the film mainstream appeal, which makes the film refreshing. Cronenberg’s focus upon these extraordinary character borders on the biographical/dramatic rather than the heroic.

The script is similar to a thrilling university science lecture, but with a few pointed criticisms between the two doctors, but this intelligent dialogue is perfect for those wanting to involve themselves in the discussion. Performances are strong, all three leading actors/actress give confident, bold displays of character and willingness. Knightly in particular takes on a demanding role, one which she should be praised for.

Not the kind of film to watch if you are a fan of action, escapism or trivial entertainment, or indeed if you fell asleep a lot during science lessons, but definitely a decent story if you are interested in the themes and discussions going on; and the film is superbly shot (some amazing locations used) with an impeccable script.

Colombiana (2011)

Action thriller, about a young woman who sees her parents murdered by a powerful gangster, who grows up to be a deadly assassin vowing revenge.

Zoe Saldana plays Cataleya (the name of a flower which grew in her home country), who finds refuge in the U.S. after her family is killed when she was a young girl. Living with her criminal uncle, she chooses a life as a career killer, one whose skills and abilities are immense, whilst searching for the man responsible for the deaths of her parents. Using her previous kills as a way of drawing out the bad man from her past, Cataleya lives a life completely focused upon her mission, allowing very few distractions, whilst also evading the police, who seem to be protecting her prey.

More on the action side of things, Colombiana is an entertaining and thrilling film. You get the same kind of adrenaline rush watching films like Bad Boys, just without the tongue in cheek humour and bad satire. Saldana is an impressive leading actress, performing some outstanding stunts, whilst adding an emotional level to the character which seems believable and sympathetic.

The gangsters and cops are quite rudimentary, offering little in the way of intelligence or originality, but the film is more about the journey this killer takes, rather than the police efforts to capture her.

Worth a watch if you are a fan of the action genre, and like plenty of shooting and stunts.

Blue Valentine (2010)

A bold exploration of two people, who are experiencing a crisis in their relationship, whilst showing the journey from their exciting and dramatic origins.

Ryan Gosling plays Dean, a humble removal man from a working class, New York background. Shown as the adoring father of Frankie (Faith Wladyka), Dean seems content with his lifestyle of married man, drinking during the day, and purposeless. His wife Cindy (Michelle Williams), works as a nurse at the local hospital, where long hours and a mediocre home life seem to have drained her of energy or enthusiasm. When the two attempt to rekindle their flame, mostly at the behest of Dean who wants to “get drunk together”, they experience a catastrophic meltdown in their relationship.

Alongside this present storyline, we are also shown how the couple came to be. Cindy was originally a promising college student, with dreams of becoming a doctor (hence her lack of enthusiasm of only becoming a nurse). Dean, still working then as a removal man, happens upon Cindy by chance, when moving an old guy into a home where Cindy is visiting her grandmother. Full of charm and confidence, Dean’s romantic notions eventually win Cindy’s attention, and the two enjoy the throes of young love; in a particularly sweet scene, the two end up outside a shop where Dean sings a song on the ukulele, whilst Cindy tap dances.

As the journey progresses, Dean’s romantic and idealistic tendencies reveal themselves as actually being more akin to childish recklessness. His lack of direction and spontaneity grate on Cindy, and cause ripples of discontent. Meanwhile, Cindy’s dashed hopes of success amount to just some of her baggage. Her ill-tempered father and violent college boyfriend seem to have given her serious issues with intimacy, whilst her unsuccessful attempt at an abortion, when pregnant with Frankie, reveal the turning point in her destiny.

It is difficult to pinpoint who is at fault in this film, and that is its strength. Rather than completely blame the drunken husband, or the frigid wife, the film takes on a more sophisticated and intelligent discussion. The relationship, which, initially seemed founded upon romance and instant love, seems to have been based on two people thrown together by circumstance, who, in the later stages, are now suffering with the consequences.

A wonderfully made film, Blue Valentine has some intense moments of emotion and intrusive revelations. Music, from the band Grizzly Bear adds a certain degree of indie appeal, that will inevitably attract younger viewers, but should appeal to most; and the film has a tendency to linger on awkward moments, making for an uncomfortable, yet engaging viewing experience.

Terrific film.

Nights in Rodanthe (2008)

Romantic drama starring Richard Gere and Diane Lane, about two people enduring particularly tough moments in their lives, who find strength in each other.

With the passing of the Valentine’s season, Chick Flick movies still seem to be prevalent, and I myself watched this Gere-tastic love-fest the other night. All the typical mushy stuff is there: your strong, brooding guy with a troubled tale of woe, the woman with an ex who crushes her soul, and the two fall head over heels in a picturesque setting. As you can imagine, this film contained almost no twists and turns.

Based on a book by Nicholas Sparks, this romantic movie is quite bland. Gere does offer a pretty convincing performance, offering up some moody moments of dark intrigue, and Lane is a strong personality for the role of ignored house-wife, but neither of the two can stop this film being boring. Rather than give something new to the genre, the movie instead opts for tired routines, and achingly long sequences of goo.

One of the only interesting parts of the film, is actually the relationship between Gere and his son, played by James Franco. The tension between the two is quite compelling, but only dwelt on for a short time, and ends up being resolved in quite a mundane fashion.

Not a horrible film, but not memorable, or entertaining.

Paranormal Activity (2007)

A couple attempt to rid themselves of a nightmarish presence that is living within their house.

Shot in the ever-frustrating handy-cam style, the man of the house, Micah (Micah Sloat), goes about filming the strange occurrences which seem to be targeting his partner Katie (Katie Featherstone). Initially, the happenings are small things like a door moving during the night, or some noises coming from the stairs. However, the events begin to increase in ferocity, causing extreme despair between the couple.

While Micah goes on the offensive: trying new and inventive ways to try and capture/understand this demonic presence, Katie is left terrified, without any explanation as to why this is happening to her.

If you are a fan of the small-budget horror film, this will probably fit into your top 10 somewhere. The film is nothing groundbreaking, and, having experienced the hype for so long, I was disappointed to find very little “scary” stuff. The story touches upon a fear that many people have: the noises in their own home at night, and the fear that ghosts may be real, but the movie fails to use that fear to make the result effective or compelling. In terms of character development, the film offers only two characters, both of whom are quite dull and unlikeable.

Some moments were well done, such as the footprints in the powder, and the ending was quite thrilling, but overall, this film is like a housebound version of The Blair Witch Project, which was also underdeveloped, shallow, and, ultimately, disappointing.

The Guard (2011)

Hilarious black comedy starring Brendan Gleeson as a foul-mouthed Irish detective, whose political incorrectness and brusque manner alienate all he encounters.

Think Rush Hour meets Father Ted, and that’s about where The Guard will fall. Set in the beautiful country landscapes of Ireland, John Michael McDonagh’s crime satire sees a thrilling drug plot come to the quiet town where the guard, Gerry Boyle, works. The powers that be, bring in Don Cheadle, who works for the FBI, as the amount of drugs that is supposedly involved estimates to about half a billion’s worth. Boyle, with his quick wit, foul-mouth, and cynical outlook is at perfect odds with Cheadle’s youthful morality and ideals.

As the two share insults and beers, they quickly realise the plot is bigger than they thought, after a policeman goes missing, and the murders start racking up.

A very, very funny film, largely down to a sharp script and a wonderful performance from Gleeson, who seems to fit perfectly into this role, providing for some outrageous comments, and loveable misbehaviour. Many of the other characters provide some great moments of comedy, in particular Mark Strong as the drug mule, who seems to anger at every little bit of incompetence he encounters.

Watch this is you find comedy in the darkest of humours.

25th Hour (2002)

Crime drama starring Edward Norton as a man living his last day of freedom, before being sent away to prison for dealing narcotics.

Director Spike Lee, with a notorious reputation, takes on this movie released shortly after 9/11, and sets it in New York. Norton plays Monty Brogan, a charismatic drug kingpin, who lives a wealthy life with lots of friends, whose life comes crashing down when someone leads the DEA right to his doorstep, who find enough cash and drugs to put Monty away for seven years.

Tying up loose ends, and trying to find out who betrayed him consume the final hours of Monty’s last day as a free man, but the revelations that come are more about his own failures, than his compadres.

A very good film, one that takes a simple crime story, and attaches some meaty social dilemmas. Monty goes on a long rant about the different ethnic groups of New York city, pointing out all their failures and contradictions, a speech that is as dynamic as it is daring, considering the period this film was released in.

Monty’s last day also has a dramatic effect on those close to him, as his friends evaluate their own lifestyles and decisions.

A film worth watching for its compelling drama, and solid performances from Norton, Phillip Seymour-Hoffman and Barry Pepper.

Neds (2010)

Outstanding social drama from director Peter Mullan, about a child growing up in Glasgow during the seventies.

John McGill (Conor McCarron), is an intelligent young student, one who dreams of making something of his life, and transcending the banal world he currently inhabits. Unfortunately for him, he was born into a lower class family, with an abusive alcoholic father (Mullan), a loving, but largely ineffectual, mother, and an older brother who has a wide reputation for thuggery and violence.

John faces some harsh realities as he attempts to make his way through secondary school, in particular the path he will take when peer pressure pushes him towards gang culture.

A brutal and powerful film, Mullan has taken a coming-of-age story, and placed it into this bleak Scottish housing estate, where kids attack their rivals with stones, bottles, and knives, and even the teachers have all but given up on them. John’s prospects seem to shrink as he discovers more about the world around him, and learns that in order to survive this cruel fate, he must make decisions (regardless of their morality or outcome).

The film is compelling throughout, with some tense and harsh fight scenes, that reflect a lot of the anxiety of youth. Music is well chosen, representing the era with some great tunes of the time.

Depending on your preference, Neds could be the best/worse film you watch all year. It will probably not elicit much sympathy from you, but may make you think about the themes and ideas for days after. A great film to arouse discussions about social dysfunction, and how it reflects on our own society’s problems.

Blue Velvet (1986)

From picturesque, small-town America, to the sadomasochistic imaginings of David Lynch, Blue Velvet is a cinematic powerhouse, revealing the repressed tendencies of a supposedly civilised community.

Set in the white-picket town of Lumberton, a young man called Jeffrey (Kyle MacLachlan) discovers a sinister world lurking in the shadows, when he discovers a severed ear on the walk home from visiting his father in hospital. After receiving very little attention from local detective, Jeffrey takes it upon himself, with the help of detective’s daughter Sandy, to investigate the ear. The trail soon leads him to the apartment of a lounge singer called Dorothy Vallens (Isabella Rossellini), where Jeffrey ends up spying on her, and witnessing some harrowing events.

Dorothy’s life is being controlled, and humiliated, by a sick and perverted sociopath called Frank Booth (Dennis Hopper), who has kidnapped Dorothy’s son in order to use the singer for his own twisted purposes. In order for Jeffrey to help Dorothy, he must come to terms with a despicable world of drugs, rape and murder, as well as his own dark impulses.

It is a truly artistic movie, one that is uncompromising in its approach, and shocking in its result. Lynch’s unwavering commitment to representing the awful and disturbing aspects of this small town, creates an aesthetic that is both beautiful and repulsive. With the tagline “It’s a strange world”, this is a movie of contrast, offering up both violence and tenderness, dreams and nightmares.

Kyle MacLachlan’s poster-boy image is the perfect fit for the character of Jeffrey, who is exposed to this terrible world before our eyes, and we witness his coming-of-age with a heavy dread. Hopper offers the most compelling performance though, his brutality and anger seem to emanate throughout the film, and his sick sense of humour and fascination with particular songs, make him a nightmarish menace.

One of the most popular Lynch films, Blue Velvet is an unyielding movie, one that only the hardiest of filmmakers attempt, and it shares similar themes to his other work: exploring our own voyeuristic tendencies, the darker side of human nature, our ability to try and repress our urges. Blue Velvet is representative of a director who wants to use the medium of cinema, not only to make us feel uncomfortable with our own insecurities and doubts, but to expose us to a horrendous and terrible world we don’t want to imagine, but can’t stop watching.

The Elephant Man (1980)

Foremost in the cinematic achievements of director David Lynch, is the story of John Merrick, aka the Elephant Man.

Played by the fantastic John Hurt, Mr Merrick is a tragically disfigured man, whose body was born terribly deformed after his mother was trampled by an elephant during pregnancy. John is found in a travelling circus, as part of the Freak Show, by a curious doctor called Frederick Treves (Anthony Hopkins). The ringmaster of the circus is John’s “owner”, who exploits The Elephant Man to make his show profitable, as well as abusing John, whipping him like an animal.

After Dr Treves sees John’s shocking appearance, he takes him into the hospital, where he attempts to learn more about the disfigurement, as well as the man underneath. What Treves discovers is a tortured but beautiful soul, an intelligent man who has suffered not only a terrible fate, but also the appalling cruelty of a society which devours the abnormal and different. While Treves brings Merrick out of his protective shell, slowly giving him more confidence, darker members of society reveal themselves, who hope to continue exploiting The Elephant Man.

Lynch’s film is evocative, bringing to surface aspects of the human condition which we very rarely want to examine. Merrick’s appearance, whilst shocking, is not the most disturbing aspect of this film. The part which will stay with you, is the human reaction to John’s plight, how he is exploited for our own needs within a consumer culture, and used as a “monster” for social control. Our own voyeuristic tendencies are played with, and manipulated, throughout the film, which creates a viewing experience that is uncomfortable yet absorbing (pure Lynchian). John Hurt’s performance is filled with subtle dignity and sensitivity, giving Merrick the attributes which make his character so intensely fascinating.

Anthony Hopkins also delivers a marvellous, complex performance, of a man who is deeply intrigued by this poor character, but who experiences none of the horror which seems to strike others who encounter him.

David Lynch has chosen to depict this Victorian story in black and white, giving the film tremendous amounts of pathos and emotion. The original music, by John Morris, adds a great deal of depth and authenticity to the film’s aesthetics, and brings the era to life.

Arguably the best way to be introduced to the work of David Lynch, The Elephant Man has all of the power and effect of the director, but with equal amounts of sentiment, pathos and tenderness.

Eraserhead (1977)

David Lynch’s feature-length debut, Eraserhead, is a fantasy-horror about a man named Henry Spencer who endures a twisted home life, and bizarre hallucinogenic encounters.

Henry’s surroundings are heavily industrial, with constant, droning factory noises and loud, hissing machinery; the bludgeoning sound is inescapable from his tiny, squalid apartment. While this noise creates a suffocating atmosphere, Henry’s blossoming relationship with his girlfriend Mary X, turns sour after she prematurely gives birth to a mutant child that never stops crying. The additional cacophony is too much for Mary to bear, who leaves the child with Henry, in order for her to get some sleep. The mutant child quickly turns ill under Henry’s care, who tries his best to help the situation, but ends up journeying on wild and weird dream-like meetings with strange characters.

The surrealist nature of Lynch’s vision is most evident in this film. Eraserhead is largely experimental, drawing upon some of the European influences in cinema of that time, and before. The film made a name for itself on the midnight horror circuit in the United States, becoming a cult classic for fans of the genre. Initial critical reaction to the film was largely negative, many critics slammed Lynch's diabolical techniques and his penchant for the graphically disturbing. It was not until later years, once the cinematic world had become accustomed to Lynch's methods, that a renewed appreciating began for the film, and people could see what he was trying to achieve, and where his later themes/style originated from.

Quite uncomfortable throughout, Eraserhead offers no rest bite for viewers, creating an atmosphere of unrelenting exhaustion. Henry's character is vivid and intriguing, becoming a sympathetic figure during the crushing pressure of his experience, but the unreality of his world makes him seem like a dream fragment, just as much as the mutant baby, or the "woman inside the radiator". There is a kind of hopelessness about the story, and the conclusion can seem quite unfulfilling. This being said, the film does raise some of the anxieties of adulthood in a dramatic and compelling way: the aforementioned exhausting atmosphere reflects the tumultuous time in Henry’s life, and his recurring visions of strange, foetus-like creatures is an obvious link to his insecurities about fatherhood.

Lynch's original music during the film is another factor that expertly adds to the discomfort for viewers. Many have praised Lynch for his work in sound technology, but for those of you taking on his work for the first time, the experience could be shocking, and ultimately un-enjoyable. Like many of his films, Eraserhead deserves a couple of views - once you have acclimatised to the environment, you can witness some of the genius direction which is occurring in the mise-en-scéne.

The best filmmakers try to raise the bar, and it seems with Eraserhead, Lynch had a clear objective to try and offer something new to the horror genre, and the film transcends the boundaries, becoming an enlarged social commentary, rather than a freaky thrill. Whilst honourable in his intentions, the film is not the best example of his work, but rather a platform in order for others to understand his later pieces more comprehensively.

127 Hours

Danny Boyle’s entrancing thriller, about a man trapped in a canyon.

Anybody who has heard about this film, has probably already been told the ending, but I urge you to still watch this movie. Boyle’s genius direction of this based-on-a-true-story is simply fantastic.

James Franco plays the lead role of Aron Ralston, an adrenaline junkie who spends his free time careering around extreme landscapes on his mountain bike, or exploring caves and rock formations. During one unfortunate dip into a crevice, a rock gives way, and Aron is sent plummeting to the ground, where the rock lodges on his arm leaving him helpless to escape. Stranded, with only a few supplies and being far from earshot of any likely passers-by, Aron options quickly run out.

He has with him a video camera, which he uses to record messages for his loved ones, as well as keeping boredom at bay. The hours turn to days, and we slowly see this thrill-seeker turn extremely desperate, as well as succumb to hallucinations.

A stunning film, one which uses a stand-out performance from Franco to base it on. Franco’s commitment to each scene is filled with expertly displayed tension, and, as he situation worsens, his desperation becomes achingly more apparent. Boyle captures some vivid colours in the landscape of this canyon land, which seems both beautiful and treacherous. Music is used very well to enhance each scene, in particular the climax of the film.

The plot, which at first may seem a little thin, becomes more developed, as we see the personal and emotional effect which the experience has on Aron, as well as the physical assault.

A gripping and thrilling film, superbly made.