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Reviews
Hunger PDF Print Email
Written by Sameerah   
Tuesday, 15 June 2010 03:34
There are loads of good ideas out there, but the people who run the studios and have all the cash just refuse to take a chance on any of them. And because of that we get films like "Hunger". It's your standard dreary tale about a bunch of strangers locked in a room together trying to figure out why they are there and dealing with the oh so gory issue of cannibalism. Yes, this is well worn territory, but if it is done right it can be entertaining enough to make you forget that you have seen this kind of film before. Since they don't do anything interesting with the concept you sit there knowing that you have seen this film done before and the last time you saw it, it was done much better.

A bunch of pretty people wake up in some kind of skanky-ass dungeon and don't know where they are, who they are with or how they got there. All of the people in the dungeon fall into the stereotypes that you would generally expect; there are the two pretty white girls, one brunette, one blonde, one book smart, one a little bit dim. The strong silent type who doubles as the father figure of the group ( in this case played by a guy that I can only describe as a poor man's Treat Williams. And you know it's bad when you can't cast Treat Williams), the tough, douche-bag, gangsta kid ( played by a brunette Seth Green knock off a' la "Idle Hands") and an expandable brown person. Thus far the only original thing about "Hunger" is that the expendable brown person is played by a nondescript chubby guy who is either of Indian ( the kind from India ) or Middle Eastern decent. Part of me is happy that they haven't decided to cast another stereotypical hoodrat black person to be the expendable brown person, but at the same time I am a little bummed. This poor schlub barely has many lines, and is barely a beep on the character radar. At least when the expendable brown person is black, they at least get to talk shit and have a few witty one liners before meeting their inevitable doom. Ah, but I digress. So here we are, all of our sad, scary miserable little stereotypes all lined up and trying to figure out why they're there and how they are going to get out of this horrible situation. As the cast fumbles around in the dark and screams at each other, it goes without saying that they are being watched by the fuck-wad that has trapped then down there. As they run through the dreary tales of what could they all have in common to wind up in such a mess, it comes out that all of the participants in this wretched little comedy called "Hunger" have all committed an act of murder. At this point the only murder that I care about is the murder of the director.

The pretty people try to escape their dungeon but to no avail. They know that they've all killed someone, but neither the characters -or the writers of this farce- take the time to develop that there may be a connection to the individual murders. I assume that part of the story either slipped their mind or was too much like work, so they said fuck it.  For the next hour we watch our pretty stereotypes yell at each other while some guy -who looks like the unfunny love child of Zack Galifianakis and Seth Rogan- watches their breakdowns. Throughout the film, Seth-Zack Galifi-Rogin watches our cast of characters scream and murder each other. All the while taking little notes on his computer screen. Notes about what, we never know. His interest is these people is as baffling as what their connection may be in the first place. But rest assured he is taking fucking notes! Through all of the yelling and note taking we are treated to some flashbacks as to what may have driven Seth-Zack Gandi-Rogen to want to kidnap these people. Apparently when he was a kid he was trapped busted car in with his dead mom and was forced to feed on her flesh to survive. I think we all can agree that being forced to eat your mom for survival is some pretty fucked up shit, the writers for "Hunger" never see fit to delve into anything else that would have made this particular character pick these particular people to kidnap. Apparently he did it for the notes. We go through all of this trouble to watch everyone get killed and get all cannibal with the shit. *yawn* that's right a big fat bloody fuckin yawn. I can live with a weak plot,  gaping plot holes and shite character development as long as you can give me some interesting murders. Alll "Hunger" manages is a few slashed throats and a bludgeoning. Neither of which do anything to satisfy the blood lust that has built from watching an hour of crap on a cracker. 

When all is said and done, the smart blond makes it out alive, everyone else is dead and we still don't know why Zack-Seth Gandi-Rogen wanted all of these people dead in the first place. Watching "Hunger" is nothing short of frustrating and void of the concept of plots. "Hunger" is frustrating because it promises everything and gives you nothing. No interesting murders, no solid character development and no resolution in the end. Almost all of the other shit could be forgiven if they took the fucking time to tie some of this shit up in the end. 

Last Updated ( Wednesday, 30 November -1 01:00 )
 
Devils Poison PDF Print Email
Written by Sameerah   
Thursday, 08 April 2010 07:18
Vomitor 
Devil's Poison
Hell's Headbangers Records
3.5


Vomitor's "Devil's Prison" sounds like what I imagine a panic attack in Hell would sound like. The opening track, "Crimson Tide", is so distorted that it almost sounds as if it's being played backwards. At least that's how the brain tries to make sense of a manic wave of sound that it's being assaulted with. The distortion and confusion of the opening track sets the theme for the album in its entirety. Each song playing back and forth between sonic chaos and thick, heavy groove laden riffs. It's mixture of sounds that help you feed into the the frustration and rage of the lyrics. In true Black Metal fashion the lyrics pay homage to the dark lords, but with a bit of a twist. Instead talking about lofty ideals and philosophy's of evil. Vomitor focuses their rage on the day to day frustrations of the legions of dark warriors everywhere. There message of dark frustration is driven home by the way Vomitor blends catchy rock hooks into their melodies of destruction. And the half whispered, half growled vocals of a man who is coming apart at the seams. In the end if you want a band that is nothing but pure evil, you can find bands that are harder than Vomitor. But if you just need something that rocks, that you can release your frustrations to, the Devils Poison is the album to do it to.
Last Updated ( Wednesday, 30 November -1 01:00 )
 
13 PDF Print Email
Written by Sameerah   
Monday, 22 March 2010 05:47
I am sure I am not the only person to get annoyed that there don't seem to be anymore original ideas in film anymore. Almost everything is a rehash of the same handful of ideas. As annoying as this lack of originality may be, it can be forgiven when it done right. 13 is a revamp of the " When a Stranger Calls" concept. Everyone knows that a woman home alone on a rainy night is the perfect formula for weird shit to happen. 13 isn't the best execution of this theme by any stretch of the imagination but they do manage to take just enough liberty with the concept to make it more entertaining than usual.

Like every other version of this story since the beginning of time, 13 starts on a stormy evening. Sarah is sitting home alone when a man comes to the door, he has some papers for owner of the house to sign. The guy is kinda fat and creepy and Sarah knows she shouldn't do it, but she lets the fat guy in. While they wait out the storm, reports of a series of killings begin to play in the distance. Sarah and fat boy sit and speculate on who the killer may be and why he's carving the number 13 into his victims. Of course this conversation gets fat boy going on a creepy rant. Just when Sarah is getting ready to throw out the creepy fat guy, another stranger arrives at the door. This time it's a security guy with a God fetish. Sticking to the formula as these things always do, Sarah lets him in even though she already has one potential nut job in the house right now. Right on cue, conflict between the two men begins to erupt. The more time the three of them spend together the more they begin to suspect someone in the house may be a killer.

Despite being a  formulaic, 13 does manage to throw a few twists and turn into the film. Even though you know the killer is someone that Sarah has let into the house it doesn't turn out to be the person that you may be expecting. So while they get an "A" for effort with the plot twits, there comes a point in the movie where you know exactly who the killer is and how things are going to play. But I don't completely fault the writers and directors for the films predictability; there is only so much that can be done with the old "stranger in the house" routine and still make sure it's relatively interesting. 13 makes for a good popcorn movie on a rainy night, but it isn't much to get terribly excited over.
Last Updated ( Monday, 22 March 2010 05:49 )
 
DC Sniper PDF Print Email
Written by Sameerah   
Friday, 05 March 2010 08:37
Ulli Lommel is a director that I have always loved because of his dedication to cheesy biopic horror. His films are always horrible, but they usually manage to have one interesting performance, and his low budget special effects are entertaining. Unfortunately his attempt to work his horror magic on the DC Sniper falls tragically short. His version of events surrounding the DC Sniper feel oddly watered down coming from director who usually goes out of his way to ramp up the gore and insanity of his films. As if what the DC Sniper did was so horrible that he had to soften it up just to make the film bearable.

In 2002 John Allen Mohammed and his adopted son Lee Boyd Malvo, went on a shooting spree in Washington DC and the surrounding suburbs. After their ninth murder the pair sent a rambling letter to the police. Their manifesto demanded a ten million dollar payment in exchange for the stopping the murders. The letter sent to the authorities claimed that the duo were out to destroy the American government as punishment for the way they had treated the black man throughout the ages. When the pair was finally caught they continued to spew their racist dribble until they were convicted of the murders. Since he was only 17 Malvo was sentenced to life in prison. Mohammad was sentenced to death and was ultimately executed in last year.

What the film leaves out, is while Mohammad was no doubt racist scum, racism and toppling the government wasn't his true target. Mohammad organized the shootings in an attempt to murder his ex-wife,who had moved to the DC suburbs. He didn't know exactly where she lived, so the plan was to commit a series of random shootings in the hopes of flushing her out somehow. An infinitely more sinister plot, that is barely explored in this movie. Lommel eludes to Mohammad having lady troubles with the brief introduction of a girlfriend, but her role in the story is reduced to a two minute scene of her telling him to kick bricks. Turning what could have been a significant plot point into a mere after thought. Strange for a guy who usually exploits every psychological kink of his subject for maximum gore. I guess horrible serial killer violence is OK as long it doesn't venture into the realm of domestic violence. DC Sniper even shows Lommel is off of his writing game. While he's trying to tell the story of the DC Sniper, he's also trying to weave in a secondary story of one of the cops that was trying to catch him. The two plot lines don't mesh well at all. Where the scenes with the sniper's are written to show off the twisted logic and Mohammed and Boyd, the cop scenes have an film noir vibe that just doesn't fit in with the rest of the story. He wants to tell both the story of the DC Sniper's and a single story about one of the men trying to catch him. And it doesn't work both ways, you're either going to tell the story of the DC Sniper, or tell the story of the man that caught him.

The single bright spot of the film is Ken Foree as John Allen Mohammd. This isn't his best work by any stretch of the imagination, but he does manage to deliver great crazy. In fact it's his performance that leaves you with the impression that there is a lot more going on with this guy than just being a racist that hates the government. He plays Mohammad as a man seething with rage and entitlement. His body tells you that this guy is holding back, and that the real story may be something more sinister that over throwing the White House.

No matter how cheesy his films are, Lommel, has always been a director that takes risks with his work. Compared to his other work, DC Sniper may be just as cheesy, but it is also very restrained. I don't know why he lost his balls with this film, but he has. Leaving DC Sniper a flat lifeless waste of cinema space, not the awesomely bad gore fest that we have come to know and love.


Last Updated ( Monday, 08 March 2010 08:53 )
 
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