Tag: Evil Dead

Shaun of the Dead (2004)

★★★★

Director: Edgar Wright

Release Date: April 9th, 2004 (UK); September 24th, 2004 (US)

Genre: Comedy; Horror

Starring: Simon Pegg, Nick Frost

It has been almost 10 years since we first met the instantly relatable yet spatially anarchic Pegg, Frost and Wright trio. Since 2004, their fumes of hilarity have glazed earlobes the world over, excellence exhaled from the likes of Hot Fuzz. But before Pegg and Frost had an unruly, conspiring cultist town to deal with, the duo wielded shovels and cricket bats in a war against zombies. The epitome of wholesome comedy-horror, Shaun of the Dead wittingly embraces society’s increasing individuality and detachment — a hapless trait infused even more in today’s world — before sending it spiralling in a zombie rage. The zombie adage it apt too, a smart comparison that evokes humour because the notion cuts so close to the bone. Perhaps a few characters are too incidental to warrant their on screen presence, but part one of the Three Flavours Cornetto trilogy is damn tasty regardless.

Working in an electronics shop where he commands disrespect, and still living with his overweight, uninspired room-mate Ed (Nick Frost), Shaun (Simon Pegg) is pitifully meandering through life, unwilling to commit and unable to justify. His girlfriend Liz (Kate Ashfield) bemoans Shaun’s discrepancies, in particular a monotonous infatuation with the local pub, the Winchester. As Shaun spends many a day lethargic amongst the comatose masses, juggling fractious relations between Ed and another house guest, and failing to win over the love of his life, he must be pretty certain that it cannot get any worse. Only, it can. Zombie worse.

Simon Pegg and Nick Frost front this raucous outing, and their gag-full chemistry is one of the prevailing positives. As down-on-his-luck lead man Shaun, Pegg exudes the everyday. His demeanour is casual, occasionally showing the slightest hint of enthusiasm, only to be shot down by an ungrateful colleague or a disappointed friend. Even Shaun’s motivational methods leave a lot to be desired (“There’s no ‘I’ in team, but there is an ‘I’ in meat pie”). You can see part of yourself in Shaun; well-meaning but gobbled up by a generically infectious culture, and Pegg’s bedraggled showing is suitably so. Though when the going gets heroic, Pegg is just as believable. His camaraderie with Nick Frost acts as the driving force behind the film’s intelligent wit. Frost portrays Ed, who’s a bit of a git. Ed is sort of like Shaun, only a lot further along the waster-scale. Rude and lazy, he seemingly exists only as the semi-loveable pain in Shaun’s backside, though he does emit a semblance of smarts every so often. The duo bounce comedic mouthfuls off each other for the duration, and they never get stuck in a rut. If the key to comedy is timing, these two have the art of early arrival down to a T.

At the forefront of Shaun of the Dead — which often harks knowingly back to zombie classics such as George A. Romero’s Dead series and Sam Raimi’s maniacal Evil Dead — is this concept of reviewing society as a failed collective unit. Although the zombie undead are the primary antagonists throughout, the narrative is really about the zombie alive — us humans. Director Edgar Wright, who also co-wrote the clever script with Pegg, smartly highlights numerous zombie-esque characteristics of the modern being: from waking up still tired after a late night, to ambling around streets unaware of anything other than oneself, to sitting slumped and mouth-gaping in tune with the other morsels on public transport. And each of these distastes are depicted before any actual zombie shows up. Wright’s almost satirical outlook on our isolated existence is smart, and is actually the most horrifying realisation that comes to fruition during the film, as opposed to the limb-deprived monsters. “The only thing that will redeem mankind is cooperation,” proclaims Shaun, an admission boasting more truth than realistic application.

Unlike the slow zombies afoot, Shaun of the Dead advances at a brisk pace and never threatens to dwell on a gag for longer than necessary. In fact, many of the funniest lines are quipped as humorous sound bites, again playing off the excellent chemistry between the front pair. Moreover, lengthy jokes interspersed throughout the zom-com tend to work (for example, a certain rifle in a pub) meaning each pay-off feels validated. There aren’t many things more frustrating than a film-long gag that loses steam before reaching the station, or worse, breaks down on arrival. The meaningful pace adopted by the filmmakers ensures proceedings are camp, as the people involved don’t take the goings-on super seriously, generating a healthy spirit throughout. Of course, there’s a genuine societal pondering going on as aforementioned, but encasing this sincerity is a plethora of over-the-top gut removals and blood splattering. Perhaps the most outrageous scene of the lot involves three humans, as many pool cues, a zombie and an oddly beat-by-beat consistent rendition of Queen’s “Don’t Stop Me Now”. Why outrageous? Because we’re having such a good time.

The tremendous Bill Nighy appears inconsistently as Shaun’s apparently disapproving step-dad, but should have a bigger role. Nighy’s lack of connection with Shaun acts as an embodiment of the film’s appraisal of civilisation, whilst at the same time provides the funniest moments external to those involving Pegg and Frost. His lack of sufficient screen time rankles even more so in the presence of peripheral characters Diane and David, played by Lucy Davis and Dylan Moran respectively. Both Davis and Moran are fine in their roles, but Moran’s spiteful, bitter David is unlikeable and therefore not worth investing in. His constant appearance coincides with hardly any character development, and therefore acts as a regular surplus to requirements reminder. Generic isn’t necessarily bad, especially considering the film’s self-awareness. However irrelevance is bad, and both David and Diane are just that. Kate Ashfield remains appealing as Liz even when denying Shaun, which is a testament to her solid performance. Peter Serafinowicz partakes in a small role as the grumpy room-mate, relinquishing more than one hilarious and angry diatribe.

Edgar Wright’s Shaun of the Dead delivers on two levels: as an accessible cautionary tale denouncing a cultural phenomenon of zombie-like monotony in society, and as a camp, witty and downright amusing banterfest with a splurge of chopping, ripping and cutting. Imperfections are not absent, but nor are they wholly adverse, and the excellent script maintains a rollicking pace throughout. Anyone for a Cornetto?

Mama (2013)

★★★

Director: Andrés Muschietti

Release Date: January 18th, 2013 (US); February 22nd, 2013 (UK)

Genre: Horror; Thriller

Starring: Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier

Although no director’s chair with his name on existed during filming, Mama has Guillermo del Toro’s fingerprints laden all over it. He is an executive producer this time, and the del Toro checklist brims with ticks in reference to this solid fantasy-horror outing that benefits a great deal from the presence of Jessica Chastain. Details are intricate and refined; visuals spring off the screen with life; harmonious sounds glide around with an air of mysticism. And just like in some of del Toro’s previous work (such as Pan’s Labyrinth and Don’t be Afraid of the Dark) the plot centres around an engaging, young female — only Mama demands two of them.

After murdering his wife and business colleagues then crashing his car in the snowy wilderness, troubled Jeffery is killed by a mysterious force that appears to be protecting his two daughters, Victoria and Lilly, from sharing a similar fate to that of their mother. Sometime later, a search for the missing girls funded by Jeffery’s twin brother Lucas (Nikolaj Coster-Waldau) proves successful and the two sisters are slowly reintegrated back into society under the parentage of Lucas and his rocker girlfriend Annabel (Jessica Chastain). However as time passes it becomes clear through consistently strange and distant behaviour that all is still not right with the girls.

Long gone are the days of atmospheric mind annihilation delivered by The Texas Chain Saw Massacre, or even nerve shredding tension served up during Alien. In 2013, you’d do well to uncover a film boasting these cherished characteristics of psychological horror and this is partially why we are subject to so many remakes and/or reboots. Creative ideas are at a premium (though not entirely obsolete) therefore the average mainstream horror output seems to be upping the technical anti as a compromise. Therefore Mama is a horror film that isn’t actually all that frightening, but is entirely watchable.

Why is it watchable? Proficiency in the visual department is partly responsible. The outside setting is rich. Old croaky shacks look and sound, well, old and croaky. First time director Andrés Muschietti bolsters the story with enticing monochrome-like flashbacks (or are they visions?) which are eerie and exceedingly well executed. Even the inclusion of a creature which would not be out of place surrounded by group of Dementors aboard the Hogwarts Express can be forgiven, as it moulds in appealingly amongst Guillermo del Toro’s fantasy visualisations. The illustrative prowess displayed throughout certainly adds a degree or two of watchability.

However, more than any optical standard set, the reason Mama deserves the attention of passers-by is Jessica Chastain. In a role that at first glance may seem a world away from her normal portrayals, Chastain’s rock ‘n’ roll chick Annabel actually shares a number of similarities with the actor’s previous characters. Although she is the sturdy anti-mother who squirms at the idea of pregnancy to begin with, Chastain soon becomes maternal and protective over the children, much like her venture into motherhood as Samantha in Take Shelter. Staunchly independent, yet perhaps not entirely equitable to the task, there are instances of Zero Dark Thirty‘s headstrong Maya here too. Forced into a situation out-of-her depth, there’s even a measure of insecurity present, akin to Rachel in The Debt. These qualities merge to create a character who is emotionally sympathetic and empathetic, and this is key in horror — we need to want Annabel to succeed in the face of uncompromising danger. Chastain is tremendous (though, when isn’t she?) and develops an unshaken dynamic with her two young co-stars who also do a stellar job. Nikolaj Coster-Waldau is even on hand to provide charm and stability along a potentially rickety road.

Of course the primary aim of any horror film is to scare, and the fact that Mama fails to do so often enough is a significant problem. The issue stems from perseverance with too many over-wrought elements aligned with the scare-fest genre. Not paying attention to odd happenings soon develops into ‘why does nobody believe me?’ until the ‘don’t go in the closet’ saga revs its rusty engine. There is a haunted house; a venture into some frozen, dark woods; heck we’ve even got time for a solitary cabin hidden in the trees (Bruce Campbell, eat your heart out!). When a semblance of fright is unveiled it’s always by way of unnatural stillness and haunting imagery. Sadly though, the BOOS! are back before long and don’t hold the same fear factor they did thirty years ago. A lack of innovation in this highly important aspect does let the film down, particularly when just about everything else is good.

As crazy as it sounds, maybe Mama would’ve been better off as a drama rather than a horror. It gets all the non-scary bits right, but is unable to juggle the workload and deliver what the viewers really want — frights and screams. Mama’s limbs are looking healthy, but her torso could be doing with a diet to rid all excess clichés.

Just don’t tell her that.

Evil Dead II (1987)

★★★★

Director: Sam Raimi

Release Date: March 13th, 1987 (US); June 26th, 1987 (UK)

Genre: Comedy; Horror

Starring: Bruce Campbell, Sarah Berry, Dan Hicks, Kassie DePaiva

The second instalment of Sam Raimi’s highly regarded Evil Dead franchise, Evil Dead II (or Evil Dead II: Dead By Dawn to be precise) takes a slightly different route as far as tone goes to that unearthed in Evil Dead. Here, Raimi chooses to essentially recreate the original and utilise the film as a comical nod to horror in general. With a shortage of laughs never in question and Bruce Campbell at the helm once again, Evil Dead II ticks all of the classic horror boxes in a knowing way. Unfortunately, this shift of focus to comedy shreds a great of the scare-factor away that the original provided so well, meaning the film succeeds as an amusing satire, but fails to deliver as a scary horror. Luckily, a scary horror is not what it is meant to be.

Evil Dead II begins in a similar vein to its predecessor, as Ash Williams (Bruce Campbell) travels with his girlfriend Linda to an old cabin in the woods. Soon after they arrive (that is, very soon after) Ash and his girlfriend are attacked by an evil spirit resulting in the death of Linda and Ash becoming partially possessed. Meanwhile, the daughter of the cabin owners, Annie Knowby, is also on her way to the forest retreat alongside her boyfriend and father’s associate Professor Ed Getley. The duo come across southern Jake and his partner Bobby Joe, who join them on their journey to impending madness and gore.

Much of what occurs on-screen during Evil Dead II is designed almost as a parody of horror, and is in place simply to make the audience laugh. From the outset Raimi puts his characters through the everyday (or, more suitably, every-night) rigours of horror: we see a spooky cabin in a dense forest; the demise of a loved one; a suspect bridge (the destruction of which would leave those who have crossed-over in isolation); a dark cellar; Gothic books with ancient text; and all of that makes up the opening half hour. When the focus is centred on these self-acknowledging elements the film works, and works effectively.

Not only is the setting clichéd and the set-pieces part of horror lore, so too are the characters, each of whom boast individual qualities. The heroic protagonist, the charming damsel-in-distress, the goofy idiot and his self-centred partner — they are all present. Evil Dead II‘s obvious satirical drive and the fact that it does not take itself seriously are the two proponents which make the comedy aspect of the film a resounding success. Raimi knows he is pandering to an aware audience, thus, when the additional ancient passages which must be recited to disperse the evil spirits are thrown into the unwelcoming cellar, or when a hapless Bobby Joe scampers out into the demon-infested forest without so much as a moment of rationalisation, a simultaneous chuckle can be heard from both the filmmaker and the audience — communally, we all get it.

Without a doubt, Evil Dead II trumps its precursor as far as comedy goes, but it is a far cry from its predecessor in terms of actual horror. As each scenario becomes increasingly humour-filled and events display the usual scary movie elements, the film quickly loses any lingering tension which would typically be present. Unlike The Evil Dead — which survived and made its name by way of its relentless atmosphere that ranged from discreetly eerie to outright frightening — Evil Dead II struggles to strike up any semblance of an underlying chilling tone. The overarching comedy out-muscles any potential horror during scenes, generating laughter where there would normally be scares. With that being said, the film is not trying to be scary. On the odd occasion that it does reach for a proverbial jump-scare, it does so because those scares have become a staple of horror.

Bruce Campbell’s Ash is as equally at home in amongst the comical nature of Evil Dead II as he was alongside the spookiness of Evil Dead. In fact, his outlandish antics and hilarious facial expressions are even more welcome this time around as they offer more to the film and, in unison with the satire, provide genuine laughs. The duel Ash is involved in early on with his possessed hand delivers outrageous merriment, the resonance of which holds up throughout the film. The supporting cast, on the other hand, do not offer as much comedy — at least not intentionally. Much of their involvement consists of loud screeching and accentuated vowels. Ash’s antics make up the trunk of the film, while the remaining cast are simply the supporting branches. A few snapped twigs have little effect on the strength of a tree, right?

With low production values and ridiculous-looking gore, Evil Dead II sets a comical tone from the get-go as it knowingly places clichéd horror characters in a classic scary setting and through common frightful situations. The shift in focus from terror to comedy negates any usual scares and turns them into echoes of laughter. Often, when a horror film of any ilk is not at all scary, something is not quite right.

However in the case of Evil Dead II, it could not be more right.

Godzilla (1998)

★

Director: Roland Emmerich

Release Date: May 20th, 1998 (US); July 17th, 1998 (UK)

Genre: Action; Science-fiction; Thriller

Starring: Matthew Broderick, Maria Pitillo, Jean Reno, Hank Azaria

Remakes of classic films are often shunned before the celluloid film reel is placed in the projector (or, more likely these days, before the digital on-switch is pressed). When it was announced that a reboot of the Evil Dead franchise was in the works, fans of the scintillating original were probably more unappreciative than they were excited — although Sam Raimi’s involvement most likely eased the pain for many. Ensuring their favourite film’s legacy is not put at risk is at the forefront of a lot of cinema lovers minds, and so it should be. In return, this amps up the pressure placed upon the shoulders of directors who are at the helm of remakes, particularly in the eyes of the fans.

When May of 2014 comes along and Gareth Edwards’ recreation of Godzilla hits cinema screens across the globe, he will need not worry too much about living up to the expectations set by his predecessor. Unfortunately, Roland Emmerich’s 1998 version of Godzilla misses the mark on just about every level.

Godzilla follows Niko Tatopoulos, a scientist whose work in Russia is interrupted when he is recruited by the American government to analyse the origins of a giant mutated lizard, and help find a way to stop it from wreaking havoc in New York. That is it — the whole film is essentially Godzilla clumsily stomping its way through the streets of Manhattan. There is absolutely no time at all set aside for any dramatic tension to build (the monster appears on land not long after the film begins) and this means the majority of the film is very anticlimactic. For example, when historic buildings are being decimated later on in proceedings, there is no element of shock or outrage because dozens of such buildings have already been left lying in ruin over an hour beforehand. This is an enormous problem that the film never manages to overcome, and as a result Godzilla is ultimately a tedious, repetitive watch throughout.

Of course, Godzilla‘s desperate need for a slither of drama is not the only nuance missing and in dire demand — there is also the need for a semblance of plot (that is, other than a giant monster swinging its tail into bricks and metal for almost two and a half hours). The audience is told early on that the origins of the monster Godzilla is connected with radioactive, nuclear testing in French Polynesia, where an iguana nest is exposed. This opens up a multitude of opportunities for the filmmakers to install social or political issues into the film, and use the abnormal, human creation of Godzilla as a metaphor for humanity’s (and, in particular, the western world’s) disregard for the consequences of their power struggles. Adding elements such as this to the film would invigorate it, generating greater depth and giving the audience something to think about during the events. Instead, the viewer is subject to a messy, uncoordinated plot, where the ‘bad guy’ (Godzilla) does not really evoke that sense of fear or tyranny that a monster should, and the ‘good guy’ (Matthew Broderick) spends the entire time running aimlessly around New York not doing anything in particular.

The lack of continuity throughout the film is a cause for concern as characters end up being perceived in ways they are not meant to be. There is a scene where reporter and former love interest of Tatopoulos, Audrey Timmonds (played by Maria Pitillo), meets Tatopoulos for the first time since they split up many years before. After holding Tatopoulos in a bad light for him still feeling angry towards her after she walked out on him all those years prior, Timmonds decides to steal Tatopoulos’ secret tapes and (lo-and-behold) they somehow end up on the national news. This not only makes Timmonds, a character who the audience are supposed to be rooting for, look dastardly, but it also shows the main protagonist and ‘hero’, Tatopoulos, as nothing more than a gullible fool. In terms of the acting in the film, it relents from being satisfactory and therefore is in keeping with the rest of the offering. Matthew Broderick is a shell of the charismatic, funny and reliable lead he was in Ferris Bueller’s Day Off. The humour is also off-key and bland, so much so that the normally on-point comedic timing of Hank Azaria cannot aid goings-on.

Harking back to the lack of sense or continuity involved in Godzilla, at one point during the outing the giant lizard sinks a navy submarine before the screen cuts back to a navy general who is informed by one of his subordinates that the submarine has been destroyed. This particular scene is placed in the film in order to encourage the audience to feel great sympathy towards the now deceased officers who were on board the ship. However, rather than successfully creating a sombre atmosphere, it only highlights that the monster Godzilla has already spent an hour rampaging through streets filled with people, yet there has been no mention of the obvious and unfortunate consequences of this.  Perhaps the seemingly customary deaths of average civilians does not need addressing, and this would almost certainly be the case in any other disaster film. Unfortunately, Godzilla is lacking so much in any form of substance that when conventional features such as civilian deaths occur and are not highlighted, it is at least something for the — probably now bored — viewer to focus on. Also, apparently this gigantic, bellowing monster can successfully sneak underground and even hide in buildings. Who knew? James Bond could learn a thing or two about stealth from Godzilla.

A big-budget re-imagining of the classic 1954 Japanese monster film, Roland Emmerich’s take on Godzilla is one which fails to deliver in almost every department. From a non-existent story to nonsensical plot points to unconvincing acting, the film is ultimately devoid of that sense of dread and imminent danger which every successful, encapsulating monster film should boast.

Next time, can we keep Madison Square Garden and just take our chances?