Lorraine could only vaguely remember last night’s David Hasselhoff concert…
Atomic Blonde is another in a line of films that includes Edge of Tomorrow and Kingsman: The Secret Service, insofar as it seems to be an original, non-franchise genre movie in a sea of sequels and remakes. Like those movies, a slight adjustment of the viewer’s abysmal ignorance reveals that it is another relatively obscure comic book adaptation, based on Antony Johnston and Sam Hart’s graphic novel The Coldest City. Set in snowy Berlin in the days before the Wall came down, MI6 agent Lorraine Broughton (Charlize Theron) is tasked with retrieving a vital, watch-shaped MacGuffin that could reignite the dying embers of the Cold War. Given that the city is a powder-keg brimming with political unrest and sporting representatives from at least five different spy agencies, including fellow Brit David Percival (James McAvoy), French naïf Delphine LaSalle (Sofia Boutella) and CIA interloper Emmett Kurzfeld (John Goodman), horrific, deplorable violence and backstabbing a-plenty abound. As loyalties twist and switch, and Broughton must discover exactly who she can trust. Continue reading “Atomic Blonde (2017)”
Given the dramatically divergent reactions elicited by The Shining, that film will be discussed at a later date in two posts, a case for the defence, and a likely scathing case for the prosecution.
It’s strange to imagine that arguably the very best movies based on Stephen King’s work do not strictly fit into the horror genre at all, especially given his reputation as an author. The Shawshank Redemption is still the highest user-rated film on IMDb’s Top 100, and while it certainly isn’t the best film ever made, it’s not an immediately absurd choice for the accolade. (Incidentally, The Green Mile is ranked at no. 36, far above the first King-horror The Shining at no. 60, which debatably has more to do with Stanley Kubrick than King himself.) A little further down the list at a respectable no. 192 is Stand By Me, based on King’s 1982 novella The Body. Set in 1959, four friends make a pilgrimage to see a real dead body, and discover some important things about themselves and each other. While not at all a horror movie – being a major outlier at Dundead by featuring only one corpse – there are heavy and frightening aspects to the story beyond its mouldering cadaver. There fears here are of a more mundane sort, whether they are personal, existential or physical. Continue reading “Dundead 2017 Day Four”
Written with the insightful input of fellow Dundead 2017 survivor, Claire Grey.
If Salem’s Lot suffered from a glaring lack of Stephen King’s influence, Firestarter contains a veritable smorgasbord. King is fond of writing supernaturally-gifted children, particularly when they wreak terrible vengeance upon those foolish enough to anger someone with magical powers. 9-year-old Charlie McGee (Drew Barrymore) follows in the fine tradition of Carrie White as a girl who can cause incredible destruction with a mere thought, though she is considerably more innocent and less bitter in spite of her tragic past. After the murder of her mother, she and her father Andy (David Keith) are pursued and eventually captured by a shady government organisation controlled by Martin Sheen’s Captain Hollister, who hopes to turn the little girl into a living weapon. Continue reading “Dundead 2017 Day Three”
Thus far, Let Us Prey is the only feature film from director Brian O’Malley, and what he lacks in fecundity he makes up for in crafting one really great horror. Taking more than a few cues from John Carpenter (in the pulsing, rhythmic music and in setting almost the entire movie in a police station under attack), Let Us Prey is mad and contemplative, combining visceral violence, wry wit and religious rumination into a highly entertaining package. When it was showing at 2015’s Dundead festival it was not originally a part of my viewing slate, and my last minute decision to see it was spurred almost entirely by the presence of Liam Cunningham. As happenstance goes, this was very fortunate, as Let Us Prey turned out to be the best new movie I saw at that year’s horror-fest. The lesson here is that even the most superficial reasoning can sometimes yield rich rewards. Continue reading “Best of Dundead 2015 – Let Us Prey (2014)”
Mashing genres has given us some of the best films ever made, but can be extremely fraught if done poorly. For every Blade Runner (science fiction/film noir), Assault on Precinct 13 (Western/thriller) or Scream (horror/comedy), there are countless clumsy and inconsistent messes that, in reaching for two disparate goals, achieve neither. Sunshine is by no means among the worst examples of this technique, but remains an intensely frustrating film. It seems to lack the courage to simply be a tense and thrilling tale of human perseverance and survival, instead tossing in a half-hearted, third act horror twist that falls completely flat.
Continue reading “Sunshine (2007)”