Archive for October, 2011

Piranha 3D

Piranha 3D is the type of film where you can watch the trailer and pretty much figure out whether or not you’re going to enjoy watching it. It’s a cheesy b-movie horror-comedy, and if you like that kind of film, you’ll have a good time with it. If you aren’t already in favor of these kind of intentionally trashy films, Piranha 3D isn’t going to change your mind. Me? I was laughing during the first scene.

Said first scene shows us a man out on his boat fishing, drinking beer and singing some sort of sea shanty song. He drops his beer bottle into the lake, and we watch it — after it has magically been turned into awful CGI — float to the bottom. An earthquake is triggered, and man-eating piranha decide that they’re going to ruin this man’s day. Because this is a horror movie, that man isn’t going to play any part in the rest of the film, although his death establishes our primary enemy — even though that threat is given to us in the title. I laughed because of the terrible CGI that was used on the beer bottle, but I actually thought the piranha were rendered quite nicely; it’s not hard to tell where most of the budget was spent.

It becomes spring break, and because we’re on a beach, it’s party time. Unfortunately for Jake (Steven R. McQueen), he has to babysit his siblings, as his mother (Elisabeth Shue) is the town sheriff and has to supervise all of these parties. While picking up his sister, he meets a girl who he goes to school with and may or may not have been romantically linked to previously, Kelly (Jessica Szohr), who has a jock boyfriend who we’re supposed to hate. He also meets porn star Danni (Kelly Brook) and a film director, Derrick (Jerry O’Connell) who invites him to be their tour guide while filming. Despite being on babysitter duty, Jake accepts and ends up on a boat with Derrick, Danni, Danni’s co-star, Crystal (Riley Steele), and Kelly, who tags along just for fun.

We’ve already seen our threat, so all we need now is to introduce it to the partying teenagers. That happens, and that’s where I’ll leave you: A bunch of piranha are attacking all of these students. Granted, I’ve taken you about halfway through Piranha 3D’s runtime, but I feel that since that’s the actual plot, it’s essential that I mention where it kick’s off. I won’t state who dies, so that I won’t spoil anything major for you.

The deaths are quite gruesome though; the piranha seem to know exactly where humans are weak and how to exploit those weaknesses, and as a result, the death toll rises quickly and with massive amounts of blood being shed. Since the piranha are evil, they’ve been given massive teeth that are capable of ripping skin off flesh within a matter of moments. And since the majority of the people in the film are in their swimsuits (sometimes they’re not even covered that much), we get to see that flesh ripped from their bodies in great detail.

I laughed quite frequently at Piranha 3D. Whether that was always the intention, I’m not so sure. This is a film that wants to spoof of the horror film genre, specifically previous Piranha films and the Jaws series, but there are times when it seemed to take itself too seriously and during these points, when I laughed I felt like the film didn’t do its job. Don’t get me wrong, it does manage to have some scary scene, but for most of the time, even when it wanted me to take it seriously, I was laughing.

Sometimes, I was laughing with it. It’s a horror-comedy, after all, and since it’s spoofing previous water-based horror films, it wouldn’t be doing its job if I wasn’t laughing or at least acknowledging what it was trying to accomplish. When it uses a cliché, I found it funny. When it decided to use awful CGI, I figured that was intentional as well. There are also moments included solely to make you laugh, such as when a piranha decides to eat a specific body part of a human, but it ends up spitting it out because it wasn’t to the piranha’s taste.

In that one moment of the film — where we watch a piranha choose to be selective about what it digests and we see its face after making that choice — I realized that the piranha in the film actually had deeper characterization than any of the people. I’m not sure if that’s such a good decision, but it seems to be the one made. We’re not going to care about the piranha since they’re tearing people apart and are set-up as the villains, but if we don’t care about the people, we’re indifferent about them as they start to die. Some of them are actually not all that nice, and we want to see them meet their end. Thankfully, we usually get that wish fulfilled.

I told you earlier that I took you to about halfway into the plot. That’s true, but the part I’ve described up to is actually the best part of the film. After the beach assault begins, I sort of lost interest, likely because all of those teenagers getting eaten were nameless faces in the crowd who decided to ignore the sheriff’s orders to get out of the water. It’s their choice to get eaten, and as a result, I almost felt like they deserved it. It also becomes just a generic “let’s kill everyone” film; nothing special happens after the mid-way point.

Overall, I had some fun with Piranha 3D, and I would suggest watching it if it sounds like your kind of film. If you don’t like gory, cheesy b-movies, this won’t help persuade you, but if you do, then you’ll probably have a good time. If the characters had more depth to them, I might have cared when they started getting ripped apart. As it stands, I enjoyed it more before the piranha were released on the crowd — the dialogue was more enjoyable to listen to — but after that, blood and guts fly everywhere. If you like that, you’ll have a field day. If you don’t, stay far away from this film.

The Unborn

At one point, near the end of The Unborn, a character says “I just want this to end,” or something similar. Had this happened about 30 minutes earlier, I would have completely agreed, because I wanted the movie to be finished. When it did happen, I sighed and then laughed, because I felt as if writer/director David S. Goyer was toying with my emotions at this point, taunting me with the exact thought I had earlier on.

The film begins with a dream sequence, in which Casey (Odette Yustman) is jogging around the block, when a creepy little kid follows her. And then the kid turns into a dog, and runs into the forest. She follows, and uncovers a fetus in a tube that was buried in the ground. Why? She wants to know too. When she wakes up, she phones her friend, Romy (Meagan Good), who is superstitious and keeps a book that tells you what your dreams mean. Since Casey is babysitting, she hears one of the children making noise, and ends up getting cut with a piece of mirror. Weird, eh?

Soon, her eyes begin changing colours, she begins hallucinating, and, because we are the only people who can see her doing this, nobody believes her. They think she’s crazy, and it’s entirely possible that she is. Her mother did commit suicide, after all. Casey heads to her grandmother (Jane Alexander), who initially lies and says that she doesn’t know of Casey’s mother, but phones her up later and tells her she does. Why she lied in the first place isn’t really explained.

Then the exposition starts, and doesn’t stop for a while. See, there’s this ghostlike thing, (or maybe it just is a ghost, I dunno), and it wants to come back to the world. It’s now haunting Casey because it eventually wants to take control of her or something. Really, it’s just an excuse to have a ghost haunt her, I think. There’s also something that happened while she was still in the womb, when her twin brother was suffocated with the umbilical cord. It kind of makes sense when the film’s explaining it to you, but honestly I’m not sure if it does looking at it retrospectively.

Because ghosts can be removed from your body with an exorcism, or so Casey believes, she heads to a rabbi (Gary Oldman), who tells her he may or may not be able to help her, and then doesn’t appear until the final scene of the film. Why Gary Oldman decided to take part in this project is beyond me.

What we get for most of the film is exposition-filled dialogue, jump scares and an incredibly silly production. It’s not all that entertaining, not even in a “so bad it’s good” kind of way. I was more bored than I was involved, and I found myself just wanting it to end, just like one of the characters says. I don’t find jump scenes scary, and I dislike exposition in films like this. Do we need to know what convoluted reason the ghost is terrifying Casey? I don’t think so, and if we do need some reason, why did it have to be this one? Couldn’t it just be that her dead twin brother wants revenge, as it was her cord that strangled him? That makes more sense than what we got.

I’m still not sure about this ghosts motivations anyway. For most of the film, it takes over the body of a young boy named Matty (Atticus Shaffer). If it already has a body, and we’re told its primary motivation is to get back on Earth in living tissue, then why does it need hers specifically? Maybe I missed something, but to me, it makes more sense to pick the youngest possible victim so that you live the longest.

There’s a scene where the exorcism does take place, (in case you were worried that Gary Oldman wouldn’t get the chance to perform one), in which he and Youstman stand side by side, and it’s just sad seeing how outclassed she is by him. He actually seemed into it, there was fire in his eyes, and he was passionate. She seemed almost disconnected, and made no real attempt to show emotion, despite the fact that her character was supposed to be in emotional distress. Scenes like this further make me question why Gary Oldman would agree to this project.

When I think back on The Unborn, I can’t think of anything good about it. I wish I could, but I can’t recall a moment when I was entertained, or a time in which I thought “hey, this is a good movie.” It was all just terrible or average, with it never getting better than that. Actually, the first scene was okay. It wasn’t really related to anything, but if it was, and the entire movie was created in the atmosphere that the opening had, it might be worth watching.

Unfortunately, that’s not what happened. What we get instead is a bore of a horror film that doesn’t make much sense, has largely indifferent performances, and simply isn’t scary. I can forgive a lot of flaws in a horror movie if I’m actually scared, but this one just has a bunch of predictable jump scenes that actually detract from the atmosphere instead of using it to their advantage. It was like I was constantly being taken out of the (admittedly not all that enjoyable) experience because of the jump scenes, and they weren’t even startling in this case, as you could call them every time they were about to happen. There is almost nothing to like in this film, and I can’t think of anything worth praise.

The Hole

The Hole is one of those films that abuses the unreliable narrator method of telling a story. Our main character, Liz (Thora Birch) is first seen walking on the streets in tattered clothes, before finding her way to a payphone and screaming at the top of her lungs. She’s forced to see a shrink (Embeth Davidtz), who assures her that Liz will get through this.

What is “this,” you ask? Well, she’s come from a place that the kids dub “The Hole,” an underground shelter that not many people know about, nor would anyone expect people to be inside. Because teenagers make poor decisions, they decide that it would be a fun idea to skip a school field trip and spend three days inside The Hole. What should be a simple getaway turns disastrous, when — well, that depends on who you ask.

We get several versions of the events that took place inside The Hole, with much of what’s said not being the truth, or at least, the whole truth. Certain parts may have happened in the earlier stories, but we’re lead to believe that the majority of the tales are lies. Even the reasoning for going down in the first place gets changed up, although I’m unsure of the purpose behind that. Everyone knows that the way the first story ends cannot be true, because in that one, everyone escapes after four days. We later learn — and I assume that the investigators would know this from the start — that Liz only emerged after eighteen days, meaning her first story cannot be correct.

She blames her friend, Martyn (Daniel Brocklebank), and claims that he locked her and her friends/classmates inside. Why would he do that? Well, he’s in love with her, you see, and since she wanted to get close to the American hunk, Mike (Desmond Harrington), he decided that nobody gets out until they hate one another. Or at least, that’s what everyone figures, so they stage a fight and are let out, causing the police to bring Martyn (a play on the word “martyr,” perhaps?) in for questioning.

But Martyn was on holiday with his family. He couldn’t have unlocked the door. The police overlook this fact, and decide that he had to be behind it. He tells a completely different story of how the group managed to get into The Hole in the first place, with him having nothing to do with it. Liz isn’t even a loner in that story, she’s popular and is best friends with Frankie (Keira Knightley), the tall blonde who convinces Mike and his friend Geoff (Laurence Fox) to party for a few days.

We get to see enactments of both of these stories, even if neither actually occurred. When we finally get the truth — or what we can only assume is the truth — it’s less interesting than the fabrications we got earlier. Yes, getting closure is nice, but finding out what we do in the “true” version of the events is less satisfying than trying to figure out what actually happened. The build-up is far better than the result, which is a shame.

This also makes a re-watch a lot less satisfying than seeing it for the first time. Since you know that most of what you originally see isn’t what really happens, and because you know what does occur, you won’t feel the same sort of suspense that you get with the first experience. This isn’t a movie with a big twist, but the differences in the story are things you’ll probably only want to see once. Seeing them again while you can still remember what actually happened in The Hole would be pointless in my opinion. Or maybe that’s just because I didn’t have a great first experience watching The Hole.

While this is a film that does show a lot of things that don’t really happen to our characters, I’m not even sure we can believe their personalities shown during the false segments. In the first story, Liz is a much different character than she is in later ones. This could be true to the other characters as well then, or at least, I’d think so. They stay largely the same, but by the characters’ own admissions, they don’t know each other all that well. Maybe they’re just representing them how they believe they would act. Martyn wasn’t even down there, so I have to really wonder why he described events that he couldn’t have seen. There’s so many moments where we’re not sure what’s real and what isn’t, rendering large portions of the film somewhat pointless.

The final story, which ends up being told in the final 20 minutes, hinges solely on one character’s stupidity. One of the people in The Hole makes one easily reversible decision that puts all of their lives in danger, but never thinks to fix it, despite easily being able to. I hate when characters make such idiotic decisions, especially if they’re easy to reverse. If there’s anything that ruins The Hole for me, it’s the final 20 minutes, right up until the final frame, which makes absolutely no sense. (Although saying why would spoil most of the film, so I’ll abstain from that.)

The Hole gave me moments of suspense, but in the end, nothing I saw was worth sitting through it. The plot ends up undermining everything we see, considering the majority of the experience is fabricated. By the time the credits began to roll, I was tired of being mislead, I was ashamed that I watched a character make such a stupid, yet completely fixable, decision, and I knew that there was no reason to re-watch this movie. It’s good up to a certain point, but then it gets silly and begins making the earlier scenes pointless.

Over Rated Actors Cast: Our Top 5 most over rated actors 10/28/11

The latest episode of the Box Office Boredom Podcast is now up for your listening pleasure.  This month we talk over rated actors, or those actors we think the general movie going public thinks a little too highly of

Joining Jason in the discussion is Drew and The Mike. As we quickly learn each of our lists has a few people on that we don’t quite agree with. Mike rounds out the show with a special edition of “The Mike’s Spooky Celluloid” where he throws out a few horror flicks for your Halloween scary movie marathons.

Enjoy the show and give us some feedback!

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Sleepy Hollow

Sleepy Hollow is another one of those films that seems to think it’s far greater than it is. It opens with some guy signing a letter set to an epic score by Danny Elfman. The soundtrack continues this way throughout, but I didn’t know that signing and sealing a letter could be such a dramatic undertaking. He is also going to deliver is, but that journey is cut short when both he and his driver are beheaded.

We then meet our hero, Ichabod Crane (Johnny Depp), who gets told by Christopher Lee (in his only appearance of the film) to head to a town called Sleepy Hollow so that he can investigate the murder of three townspeople. I viewed this decision as more of a punishment than anything, as Crane had previously told the New York court that they need to change with the times and stop sentencing people based on evidence that cannot be called “concrete.” Calling it a punishment also makes a lot of sense to me, as this is a character who faints with ease, is skeptical of everything, and is fairly cowardly. He’s not exactly the best choice to go to a town that seems perfect for a horror movie.

He accepts his torture though, and ends up staying at the creepiest house in the town, which is stationed at the top of a hill where the sun never seems to shine. He’s told by the people of the town — a group consisting of Michael Gambon, Richard Griffiths and a few others — that the headless horseman has decided to come torture the town. The reasoning isn’t clear, but he’s been severing and then stealing the head of the residents that he kills. Crane, a man of logic and reasoning, doesn’t believe this, so he embarks on a quest to figure out who of “flesh and blood” is behind the recent killing spree.

What we do for most of the film is watch Crane act like Sherlock Holmes, except that he’s nowhere near as competent. He doesn’t face danger, he flees from it or faints in its presence. He also, despite claiming otherwise, doesn’t seem to care much about logic or reason, especially once magic gets involved. I guess seeing a person and a horse come out from the roots of a tree that bleeds red blood would be enough to change anyone’s viewpoint.

Up until we first see the Horseman, I was quite engaged. After seeing him a couple of times, I was much less interested. Something about seeing the serial killer a bunch, especially after he’s had the chance to kill our hero and decides against it, makes him seem less menacing. The Horseman decides to show up whenever is least opportune, and becomes as predictable as the soundtrack attempting to drum up suspense, even when all it’s really doing is making me laugh.

Despite the Horseman not really living up to his promise, the atmosphere in Sleepy Hollow is pretty good. The set design, the lighting, the costumes — it all works in order to give us a sense of dread and despair. It does help increase the tension, even if it’s pretty much exactly what you’d expect from director Tim Burton. The only thing that throws the setting off is the CGI blood, which is distracting and took me out of the mood that I was supposed to be feeling.

I don’t remember the original short story “The Legend of Sleepy Hollow”, but I’m fairly certain this “adaptation” doesn’t stick very close to it. That’s fine in my mind, although it doesn’t explain why all of the characters, especially Ichabod Crane, have to be bland and have absolutely nothing to offer us in terms of depth. If you’re changing things up from the story, you’re allowed to improve the characters and give them real personalities.

Instead, what we get is a tacked-on back story that Crane experiences whenever he sleeps or passes out. Said back story doesn’t come into play at all, except so that we can call his childhood a “tragedy”, even if it didn’t impact him at all. He has holes in his hands, something that a young woman named Katrina (Christina Ricci) wonders about. He says he has had them since his memory began, although in a flashback, we find out the reason, as does he. But nothing is ever done with this, or indeed anything about his childhood. Maybe it explains why he faints at the first sign of trouble, but the correlation isn’t all that clear, and I’m grasping at straws to draw anything from it.

Katrina, who ends up being his love interest (a relationship that happens far too quickly, I might add), is just as bland. She’s innocent, so we think, and basically does nothing except to act as suspect #2. Crane, even after seeing the Horseman for himself, still thinks that a human is behind its resurrection, so he begins suspecting everyone with even a potentially vague motive, proving that he’s forgotten completely what he was fighting for which got him sentenced to this place in the first place.

The atmosphere, the setting, the musical score, and the costumes all allow Sleepy Hollow to be effective, but the mundane plot and uninspired characters wind up undermining their efforts to a great deal. It’s still an easily watchable film, and for the good parts alone, I’d suggest giving it a watch, but unfortunately, there are a lot of things wrong with it that keep it from being very good or even great.

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