Inside(À l'intérieur) - Review

                                                                   
                                                                                                                  Rating: A+

Inside is a horror gem. It's one of the few horror films which manages to do everything right and more. Much of the time the ranking given to any horror film is relative and does not usually stand true comparing to other great film outside the genre. For most people a good horror film is considered exactly that, a good horror film and not necessarily a good film overall. My purpose to mention this is to say that Inside is a great film in every aspect and not just a great horror film.

Premise:

Sarah (Alysson Paradis) has lost her husband in a car accident four months ago. She is heavily pregnant and is resting peacefully at her home, the night before her delivery. In the middle of the night a woman (Beatrice Dalle) knocks on the door. She is in distress and wants to use the phone. Sarah refuses to open the door and goes back to bed. But the woman is not gone. She is still there, waiting. She knows about Sarah's personal life and is determined to get inside. She wants her BABY. Soon the silence in the house dissipates and the screams dominate. Chaos, pain and chase for life and death begins.

Review:

Not very often does a debutant achieve the status of a great director but that's what happened with this debutant duo. Alexandre Bustillo and Julien Maury showed such skill and mastery of the art that it was impossible to not acknowledge their craft as great. They know the art of suspension and restraint. Their magic started from the early stage in script as they are the writers as well. Anyone can have a great concept, an initial idea which is unique and groundbreaking. The true art though is in the pace and the way it's effectively projected. A great setup would depend heavily on the great characters to have that impact. That is what many films lack, the gore and nonsense action is thrown at us without any proper context or believable characters. This shuts our mind and sympathy and we merely wait for another explosion to happen.  This film is self aware and too smart to do that mistake. First act is almost entirely bloodless and a slow burner. Sarah goes to hospital for a check-up. She meets her mom and later her employer, who is supposed to take her to hospital next morning. But none of the scenes are boring. They set the mood, develop the characters and has that subtle eeriness to them. It feels like calm before the storm. So, when the action does kick in, it grabs you and doesn't let go. You care for Sarah and you want her to survive. But directors don't waste time by hanging on with your sympathy but rather constantly throw something unexpected. That is great writing, because having one location and two characters limit the ways you can surprise us. But the writers constantly throw twists and turns while keeping the smooth progression and without breaking the overall theme or feel. For instance, the first thing Sarah does when being suspicious of stranger is that she calls the cops. Cops do arrive as well. Her mother visits her too. Let's say that all the actions were very understandable which keeps your sympathy for the protagonist throughout the film.  The score was pulse pounding literally. I am not much fun of a background score in the film but when done right, it does escalate the tension. The score here is so eerie and blends with the environment seamlessly. Lightning is another important aspect in the horror films. The use of shadows was brilliant making the dark corners all the more scary. Specially look out for 'something' in the darkness when Sarah is resting on the chair. I do not have enough praise for the leading ladies. Alysson as a vulnerable ordinary woman stuck in the turmoil is brilliant. We care for her and want her to survive and survive she does. Beatrice as the mysterious woman is possibly one of the most cruel and terrifying antagonist in recent memory. The way she stares with unnerving malice sends chills down the spine. The dialogue is minimum and the story is carried wholly by these amazing ladies with their speechless performance.

The film has gore, lots of it. But that's the most justified gore used in a film for years. It works as an art not as a cheap thrill. There is certain poetry in the way Sarah lies on the bed bathed in blood, almost like a corpse, staring into the distance. You will have to see to appreciate the beautifully orchestrated imagery throughout. The contrast of white and red colour in many scenes is striking. This film did put the directors as one of the most promising debutant directors for horror genre. There is no exaggeration in that at all. I will not reveal more plot, my reviews are about why certain film works or doesn't work and what exactly stands out or lacks. The aesthetics and the craft of it. You can read more detailed synopsis on Imdb but I would not recommend that-at all.

Conclusion:

This film is one of my favourite horror films possibly ever. Films like these make me proud to love this genre. This film shows why horror films work. There is a desire as an audience to feel vulnerable and feeling scared while sitting comfortably in the safe environment of home or cinema. We want to feel, for even few moments, to be transported to another world. Where imaginary characters come to life and where nothing is safe. That feeling of fear is not easy to convey. Most of it comes from unexpected. This is the reason why this film works so brilliantly. In the sea of mediocrity, Alexandre and Julien have made something unexpected and extraordinary. Their film defies genre classification and evokes universal emotion. The one which is instantly relatable but difficult to achieve. FEAR.

The Shining - zoom shots compilation

Just a little post about the great horror film The Shining.I came across a great video by Ian Kammer compiling every zoom shot in the shining, in an 80 second video collage.
Time after time something new comes out regarding this film decades after it's released. It shows the deep traumatic impression it has left on our brains which still haunts us and we keep digging it still to this day. The meticulously controlled pace and slow zooms help tremendously to up the tension throughout the film. Jack Nicholson delivers such a performance that even if he would've stopped acting after that, I would still rank him as one of the great actors. Praising the film itself in this mini post would be very challenging. So I would leave that to another full fledged review. All I can say is I'm grateful for the call Kubrick made to King, early in the morning to discuss a film version of his novel. Who knew at that point a great film is about to be made which filmmakers will study for years to come as a guide on how to make a Great horror film.

Without further ado, here is the video of every zoom shot in the film. Live the greatness one more time.

Black Swan - Review

                                          

                                                                                                                    Rating: A -

Black Swan is a character drama mixed with psychological horror. I have always preferred films with fewer characters not necessarily because I'm against big ensemble but rather due to the fact that fewer characters make the premise interesting and the plot tighter. There is no time wasted in introducing the big line up and the story is almost always more personal reflecting the characters inner struggle. It's fascinating to see one character trying to overcome its inner demons and the daily struggle which it goes through rather than watching Captain M saving the world from the imminent war or alien invasion. Because in character piece the story becomes much more personal and you bond with the character quickly. That's what Black swan is about.

Premise:

It's a story of a ballet dancer Nina (Natalie Portman) who is eyeing for the role of Swan Queen. Once she gets the role, she realizes her struggle has just started. While White Swan part comes naturally to her it's the Black Swan which proves to be too guile and sensual for an innocent Nina to portray. Then starts her struggle to overcome her fragility and explore her own dark side to be that perfect Black Swan. But things are not easy for Nina as she faces an obsessive mother Erica (Barbara Hershay), a mysterious competitor Lily (Mila Kunis) and an overtly flirtatious teacher Thomas (Vincent Cassel) proving too much to bear.

Review:

We embark on an emotional journey watching Nina as she tries to overcome the obstacles to get in touch with her dark side. There is this constant fear to see her break down or worse because she is just too innocent and fragile. Her mom still treats her like a little girl and her room is full of stuffed toys and pink colour decor. The story is beautifully crafted as there are many subtle signs laid out throughout the film which represent Nina's transformation and her deteriorating  sanity. Add to the fact the meticulous direction and superb performances and you get a mesmerizing film of poetic perfection. Mila Kunis has a breakthrough in this film as I never saw her before more than an eye candy in mainstream comedies. Here she proves she has that previously unexplored variation in her performance. She is sexy, captivating and equally mysterious just the way Lily was written. Barbara is just superb as an over bearing mother. She has a class in the way she performs and she manages a perfect balance of mystery and obsession without coming out as cruel. Vincent Cassel at this point doesn't even need any more admiration because everything he does, just leaves me in awe. Then comes Natalie Portman who vowed everyone with her complete transformation. Holding her own in front of Vincent Cassel is an achievement in itself but she almost overpowers everyone in the film. If there is anyone who deserved an Oscar this year more than Michelle Williams (from Blue Valentine), it is Natalie. She completely immerses herself into the character both physically and mentally. A particular scene in the first act when Nina calls her mom to tell her that she is chosen as a swan queen is both sweet and heartbreaking at the same time. It was also a testament that the girl we are watching is not Natalie Portman but Nina. A great accomplishment when character overpowers the actor completely.  As film progresses, Nina's innocence dissipates slowly and the boundary between sanity and insanity blurs. In a way, all the people around her represent the fragments of her own personality . She learns gradually to abandon some and welcome others. But this obsession of achieving perfection can also serve as a tool for self destruction. The climax is both sad and satisfactory and will linger with you long after the credits roll. The soundtrack of the film is superb to say the least as it produces the eeriness and the indulgence in equal measures. Clint Mansell does not need any introduction. His soundtrack for Requiem ( another of Darren's films) is a classic and is still used in trailers and videos. Darren Aronofksy is the captain of this ship and delivers once again. The Wrestler and The Fountain were very good films but didn't quite reach the level of Requiem. Black Swan reaches that level.

I would struggle to find anything bad in this film. Little things like the digital grain at times was a little off-putting and sometimes the usage of hand held cameras was a little excessive too. I know Darren is quite fond of using stylish transitions and new innovative angles to shoot. But for me, long static shots work best as they invite the audience in and let them focus more on the characters. The jerky camera movement can be a little distracting and specially in Nina's final performance where one shot of her bulging eyes right in our face was a bit of a turn off. But these are minor aesthetic choices which in no way dissipate the experience.

Conclusion:

This  film contains all the right ingredients which would make a great film. Few characters, fewer sets and a strong script. Black Swan did a successful business considering the genre but I would have liked more commercial success so it could set a precedence. Such  dark and psychological themes need to be explored more often in mainstream films. This film is about a personal journey, a route to self discovery. It's a rare treat to experience such a film where it steers away from the glossy slapsticks and dares stripping to bare human emotions. That's when it touches the heart and leaves you with the lingering sensation. Black Swan has that power and Nina's journey needs to be experienced by everyone.

How French Cinema led the horror genre in the last decade

Last decade have seen many ups and downs in the horror genre. Lots of experimentation and exploitation happened. While Hollywood mostly stuck to its tried and tested techniques of remakes, sequels and a much denounced sub genre "Torture Porn". French cinema was busy testing new waters. Horror fans were patiently following and enjoying every new treat which came their way from France but many genre sceptics steered away from these films. My post is to introduce these gems to the wider audience. It's probable for people to still not like horror films but it's unfair not to give it a chance. These films are not just good horror films but good films without distinction.

Martyrs:
There lies the world of seemingly sick and demented people who seek pleasure in the pain and sufferings of innocent people. That's the broader theme of this film. On the surface the comparison can be drawn to "Hostel" but their motives are far deeper and their experiments far more deep-rooted in bigger questions about human desire and the quest for impossible answers. It's a story of a girl seeking revenge against people who kidnapped and tormented her in her childhood. Accompanied by a friend, she sets out on a mission but had no idea who she is dealing with. It's a story full of surprises and gut wrenching moments. It has gore, lots of it, but that should not put you away because the film is much more layered and sophisticated and has bigger agendas than throwing buckets of blood in your face. The story is thoroughly engaging and twisted. The performances are great altogether. Kudos to the brave female actors who went all the way for their brave and raw performances. Proving to be one of the shining aspects of this film. Go watch this film now to see how a risk taking performance and direction looks like.

Irreversible:
If we are on the subject of risk taking than lets not forget its prime example, Irreversible. Where should I start? Lets start by saying that irreversible has an irreversible effect on me which will stay forever. I'm not trying to hype this film. That's the power of this great film. It is a story of an incident where one girl is brutally raped in an underpass and the events leading up to it are shown in a reverse-chronological order. We also see what happens afterwards and how the life of ordinary people is destroyed by this one event. But what's more fascinating is the way we see those people slowly going towards that incident unknowingly, while we watch in agony and despair of what lies ahead. This film will move anyone who is open to its premise. The direction is more like placing a spy camera in protagonist's life. This is how it should have been to achieve the great sense of immersion, to the extent that it becomes difficult to watch the incidents unfolding. It leaves us feeling like we are infringing their privacy. The performances have class of their own. Vincel Cassel and Alber Duppontel are great but it's Monica Belluci who leads the way. I would only say one thing about her performance. There have been many great performances from the female lead in the past but this performance for me acts like a parameter and scale to see how great other performances have been.

Sheitan:
This film, like its counterparts in this post, will divide the audience but maybe more so than others. There is no less gore in french horror films but this film has crazy, off the bat moments which makes your jaw drop to the floor. It's a story of group of teenagers who are enjoying the party till late. After exiting the disco they encounter a mysterious shepherd whose actions get weirder as the time passes. Not Hollywood-standard weird but the weirdest possible actions in any film out there. It is very hard to top this film in it's self indulgent craziness but that's not necessarily the bad thing. It works as an experience like going through a horror house, when you know you will be freaked out but you can't resist going in. It will take some time to absorb all the imagery but the plot is interesting enough to keep you hooked. I don't want to spoil anything here, because spoiling it would be like preparing you for the horror house trip. The fun is in the unexpected and that's how this film should be seen. One thing I would say though is that Vincent Cassel is brilliant. His range as an actor is phenomenal. I could not believe for a second that this guy is not like this in real life. It is impossible to acknowledge that this is just a performance. See this film and tell me if this is not a master class in performance art.

Frontiers(s):
Frontiers is a fast paced hell ride. Nothing is certain and nothing is off limit. The tone changes throughout the film from pulse pounding action to nerve wrecking horror. I cringed, flinched and squinched through most scenes. But then again I went through the same, watching all of the above films. French has numbed my feeling of horror, disgust and gore. But at no point I feel exploited because they have a way to work up to it and to build the setup meticulously. It's a story of young thieves fleeing Paris during a riot only to be trapped in a situation ten times worse than before. We are not particularly sympathetic to them at the beginning but as the story unfolds we start to root for them. There are references to other horror films throughout but Frontiers holds its own by captivating performances and polished direction. This film is more stylised than above mentioned films but it works perfectly for the content and it manages to evoke an emotion of fear and sympathy from us. Xavier Gens broke out into Hollywood after this project with Hitman and Divide. But never quite achieved the brilliance of Frontiers.

Inside (À l'intérieur):
This film made quite a splash among horror fans when it was released in 2007. There was something about this film which made everyone attracted towards it. This film works on so many levels that it feels both ground breaking and inspirational for other horror films. Made on a relatively small budget, it's a story of a heavily pregnant woman who spends the night alone in her house, before the delivery. At midnight a woman knocks on the door and requests to use the phone. The stranger gets refused but its becomes clear that she is here for something more and won't go until she gets it. This film is a testament to a great horror film based on a strong story. For any film, the story is the single most important thing. It's a simple story set in one house and two main characters. If you take this premise to the Hollywood producers you are likely to be rejected or ordered for "heavy re-writes". But then being made in Hollywood is not an indication of a good film anyways. True film will emerge when you won't place the unnecessary obstacle of "commercial success". This film defines the term edge-of-the-seat suspense. There are so many great moments that it's difficult to cover them in this mini review. I will be writing a detailed review for this film very soon. One thing I will say though, do watch this film to see the potential of a great horror film. It will move you, grasp you and shake you to your core. It's an experience transcending genres and deserve to be seen by anyone who acknowledges the power of cinema.

Other notable films: Haute Tension, Them and Cache.

These are just a few examples to introduce you to this great stream of horror films from France. France has produced some of the great classic horror films in the last century and continues to do so today. A great film should evoke a certain emotion in you without exploiting your trust as an audience. It is a very difficult task but the one which French has learnt and polished for decades. I will hope to see more great horror films from France this decade which will continue to inspire and captivate us surpassing the barrier of language. That's a great achievement and an example for the rest of us to follow.

Prometheus Preview - A Marketing Genius

Internet is abuzz with Prometheus talk. Hardcore Alien and Ridley's fans have been eagerly waiting for years but for other film fans it started out with Prometheus Panel in Comic-Con International when it showcased its first footage. Since then there is no stopping. Studios have spent millions on the marketing and it cetainly is paying off.

Premise:

We all know it by now. A group of scientists embark on a journey on a spaceship called "Prometheus", to investigate other life forms beyond our planet. What they discover is far more than what they expected and it's certainly not a good thing. Earth's future is in jeopardy and the struggle to save humanity begins. We see very familiar situations in many mainstream films where one man or a group of them have to save the earth from the impending doom. But difference here is ofcourse it's Ridley Scott. He pioneered this Alien world and is finally back to reinvent it. There are only a handful of people who know how to properly spend the multimillion budget. Ridley is among that rare breed. Alien and Blade Runner pretty much re-invented the sci-fi genre.

Among the cast is a very brilliant and a rising hollywood star Nomi Rapace accompanied by Michael Fassbender, Idris Elba, Charlize Theron and Guy Pearce among others. Such strong lead pretty much secures the performances section. Cinematographer is Dariusz Wolski whose work involves "Pirates of the Carribbean" franchise and "Alice in Wonderland" among many others.

Preview:
If one thing this film has already proved before its premiere is how to market properly. It's just genius. It's not about the money they have spent but it's the conception of these unique ideas to impress this goldfish memory crowd. Traditional teasers and trailers aside. This film has gone beyond that. It has created this fog of mystery and intrigue around it. Lately every film trailer seems more of a summary than a teaser. Everything is summed up in 2 minutes and you don't need to see the film after that. Prometheus has introduced it's characters and story with enough exposure to leave everyone curious. All three main mediums i.e. Internet, TV, Newspapers are used. Official trailers can be seen here and here. Below is the scan of Total Magazine preview of the film. Rest can be read here.

Michael Fassbender plays an android who is beyond ordinary machine and acquires the emotions of human being. It's called "David 8" who is teased thoroughly throughout all the trailers but recently has begun it's own marketing rounds. This is seemingly the 8th generation of android and better than ever. It has "Unlimited Memory" and "3D Kinematics Guidance Center" and many others. Check out the official page to know more about its 'Specifications'. David is introduced as an independent product manufactured by Weyland Inc. Below is the viral video wishing happy birthday to David.

Another remarkable video which went viral was TED talk of Peter Weyland. Peter Wayland, the owner of Weyland Inc. is seen addressing the crowd in 2023 and shares his ambitious plans to change the world. His line " We are the Gods now" is particularly striking. The great thing about this video is that TED is an actual non profit organisation. Before implementing this idea Prometheus productions actually discussed with TED how the conferences would look like in 2023. Thus lending a realistic and surreal touch to it.

Weyland Industries has it's own website which proudly showcases it's two projects namely Prometheus and David 8. You can check out the website here. Particularly interesting is the "About Us" page. Which mentions 837.35 Millions employees and locations including 63 colonies besides 160 countries. Another interesting information on the website is regarding David's configurable emotions. On David's page there are range of emotions shown which can be enabled or disabled as desired.

The idea is to give the audience enough insight to lure them in. People will come out of curiosity. Rather than pushing the product in their face. I'm sure this film would have been a success even without any of this. But this will only ensure that Internet will continue to dig this up and even after the premiere people will come back again and talk about it.

Such innovative marketing is unrivalled in the film industry (John Carter needed severe lessons in this regard).
What's left to see is, will this film deliver up to this insurmountable hype?

Prometheus is scheduled to release on 1st June in UK and 8th June in US. Make sure to come back for a review on 1st June.

A Separation - Review

                                                                                                                                                                                                                                                                            Rating: A+

Most screenplay tutors emphasize on raising the stakes in your story to make it better. Agents look for something unusual, beyond ordinary life. Studios crave much higher risks. It's never less than saving the whole world from an impending catastrophe. What lacks in most of these is the relativity. True characters who are instantly identifiable and real. Once we achieve that then whatever happens to them no matter how small, people will feel for them. Whether it's losing their keys or a pinprick.

Premise:

A separation is a prime example for that matter and should be a go-to resource for any writer who wants some guidance or improvement of their writing skills. It's a master class in screewriting. There are many issues at hand in this film. Sharia Laws, Status of women, lies, our ability to justify our lies and many other moral and social issues. But at its heart, it's about A Separation and its effects on the child torn apart with the dilemma of choosing a single parent. It's a story of Simin (Leila Hatami) who is filing for divorce from Nader (Peyman Moadi) to go abroad for the better future of her daughter. Nader denies to divorce her because he wants to stay with his father who suffers from Alzheimers. Court rejects Simin's case  and she moves out to her mother's house. Meanwhile Nader hires a caretaker Razieh (Sareh Bayat) for his father. Razieh has problems of her own. One day an argue between Razieh and Nader leads him to throw her out. It turns out Razieh is pregnant which puts Nader in hot waters. Complications ensue and truth slowly reveals itself while audience wonders who to trust in this complicated web of lies and confusion.

Review:

Shown beautifully in his last film "About Elly", Asghar Farhadi has further mastered the technique of depicting how the characters dug the rabbit hole of constructed lies, sometimes rather unintentionally. The whole incident in the film unfolds right before our eyes but still we struggle to reach the truth instantly. Is it our inherent nature of favouring the ones we like? So we filter out any conflicting reality which doesn't match our preconceived judgements. Or is it just because no one is completely good or bad and the context and intentions are key players in such situations? These notions are played out masterfully in this film. We see Nader pushing Razieh out of his door. But he claims he didn't know she was pregnant. He says he didn't throw her on the stairs but merely pushed her. Razieh claims the opposite. Another such question is what do we do when our moral values conflict with our religious beliefs? Do we mould our religion to what we truly want or do we refrain from any act which we know is right but our religion might contradict? Razieh goes through the same dilemma. She is a very religious person who wants to help Nader's father. But she is afraid she might commit a sin. There are many more such questions in this film and the answers are not simple.

However, one thing profoundly simple to understand is how difficult it is for a kid to choose between his parents when they split. Termeh (Sarina Farhadi) is the daughter who is forced to choose. Throughout the film she is seen trying to get her mother back in the house. She decides not to go with her when her mother leaves the house. She hopes her mother will come back for her. Nader presumes his daughter loves him more and that is why she won't leave with her mother. He might be true, but he fails to understand the value of her mother for her. The reason why this film asks so many questions and evoke so many emotions is because of a brave screenplay and a visionary direction. Asghar Farhadi is the writer and director and therefore all praise goes to him. The material is so heavy and sensitive yet Asghar never places a foot wrong. Static long shots add to the realism and we feel like being one of the silent spectator of the whole situation. The actors, each one of them, have done such a tremendous job that it's the best acted ensemble cast in years. Sarina Farhadi who plays Termeh is the stand out just because of her sheer talent as a debut for giving such layered and controlled performance. Sareh Bayat is another standout, with her portrayal of vulnerable Razieh who despite of many mistakes never looses our sympathy. The last scene in particular will stick in your mind for sometime after watching the film.

There is no flaw whatsoever. There might be some minuses for some people but I failed to see any. I never imagined Oscar would honour this film when I first watched it. Although I will always hold my grudge against Oscars for not awarding 4 Months, 3 Weeks and 2 Days. But still they have redeemed themselves a little by acknowledging this film. A separation would have remained a masterpiece even without the Oscar but now at least it has reached to the broader audience with an award, who would have missed this gem otherwise.

Conclusion:

Watch this film not just to see how a timeless film is made. But also to see a glimpse of society never seen properly in mainstream media. This film gives an alternative and true peek into the Iranian lifestyle which at it's core is not much different than any other. The same universal language of human emotions is spoken there just as here.

Carnage - Review

                                                                                                                      Rating: A -

Based on Yasmin Reza's play " Le Dieu du Carnage"  this character piece is a bleak but engaging drama. I only wish it would have been a little less overplayed around the end.

It's a story of two couples who decide to meet over an incident involving their children.  Their young boys have a little argument and one of them hit the other with the stick. Who is at blame here is not of primary importance.  That merely provides the base for the premise where the parents reveal their own insecurities and problems. The incident itself is irrelevant and the aftermath is the main plot.

Premise:

Penelope Longstreet ( Jodie Foster) and Michael (John c. Reilly) are playing the parents of the victim. Penelope is calculated and have firm ideas for human rights and justice. Michael is more relaxed and cool headed. The other couple Nancy Cowan (Kate Winslet) and Alan (Christoph Waltz) are parents of the offender. Nancy is more understanding and considerate. Alan is more uptight and straight. Although when Penelope and Michael invite the other two to their home for handling the matter in adult way, all the true colors of each one of them emerge. Many awkward moments ensue and their patience for each other gets tested.

Review:

From the very start it's evident that nobody is enjoying this meeting. Each time when Alan and Nancy decides to leave, a new aspect or insight of the incident gets revealed and they find themselves back in. The tone throughout is relatively light and at times funny but do get cringe worthy at some points. The good thing was the actual incident, when one kid hits the other, is shown at the beginning with no sound. We can see what's happening but can't hear the arguments which makes us open and sceptic to the later meeting of parents as to who actually is more responsible. This kind of narrative story is more dialogue based and stems from strong characters. Fortunately it does have both so the story becomes relevant and enjoyable. The performances are undoubtedly good coming from the seasoned actors. All of them get their individual moments to shine which also makes the group scenes( which is most of the film) very interesting to watch. The varied close up angles within the confined space of Lounge do take us closer to the actors. The absence of music makes it that much more raw. The story itself is very engaging and gives enough depth to each of the characters. Specially how meticulously each scene transit seamlessly into another and how gradually the incidents get serious and more awkward with time. Polanski's control over the actors and the material is very evident and helps make this more than just a one setup ordinary piece. The situation becomes reflective and the environment pulls us in. Another thing which I particularly liked are the ever changing alliances of each character throughout the film. It makes the scenario that much more grey and complex and more difficult for audience to take side of either of them. This in itself is a very commendable job rarely seen in many films.

There is not much bad in it. Few small things I did notice though. Both couples are reasonably rich and seem to enjoy the pleasure of group gatherings and drinking while being sober. It didn't seem like that in this incident as everyone seemed to get too drunk after few sips as to being physically effected by it. Although why it didn't bother me much was because the heated arguments and fights leading up to that point can make you lose your calm and drinking can act as a small catalyst. Other thing was the showcase of the range of actors shown rather unnecessarily through the final act. Although it's a custom in almost all films to up the ante at this point in the third act and elevate the action and emotions to engage the audience, but it seemed a little overplayed here.  The uncontrollable laugh, in one scene which prolonged for far too long and the tears flowing for a long time, in another scene for no reason.  Even though I can oversee these small things because the big picture in itself was very satisfying. Many people find this material best suited for the theatre which is how the original play By Yasmina Reza is done. But I find this story working very well as a feature film. A small setup and few characters force the writer to work on the story and the grey characters and many a times comes out far better written than the huge scale set pieces with thinly drawn characters.

Conclusion:

I find this film engaging and beautiful. Sometimes concentrating on realistic setups and ordinary incidents becomes far more reflective and thought provoking. We not only believe in the characters and understand them but sometimes find them around us in our society even in ourself. That's the power of a good writing and that's what Carnage has.

The Cabin In The Woods - Review

                                                                                                                 Rating: B -

Sitting in the theatre I had prepared myself to not think much or nitpick. I wanted to have a nice fun time and this is where I leveled my expectations for it. In the end, it didn't disappoint. But is it enough for a horror film to be just fun? Yep,sometimes and this is more then you should hope for in a big studio film.

This film is stuffed with too many ideas. Which is both good and bad for it. Normally when a writer stuffs a film with too many plot points it's because either he/she knows that not a single idea in the writing is strong enough to hold the film. Or is just showing his/her worth as writer by trying to surprise the viewers. It holds equally true for a director. Remember when you see too many jerky camera movements or flashy editing in a film, doing your head in? Yep the above two rules apply there as well. So, this film has the same problem. Too many ideas are thrown in to see what sticks. As a result it's best not to nitpick and just try to enjoy the ride.

Premise:
Premise is simple and cliche enough to pick up. Five friends in mid twenties decide to have fun in the cabin, in the woods. One is drug infested 'fool' (Fran Kranz) who rionicaly makes the most sense. One overtly sex active couple (Chris Hemsworth and Anna Hutchison) and lastly two blooming buds (Kristen Connolly and Jesse Williams) who are ready to mingle. Sounds fimiliar? Stick around and you will be in for a few surprises. Without giving away any spoilers, it's safe to say that the plan for a safe and happy weekend doesn't work out well.

Review:
 Lets talk about the negatives first. Well, there is nothing new. The characters are usual caricatures drawn out which you can find in almost every campy horror film. They do silly mistakes and reaches point A to B like told by the writer, so something new can happen in an attempt to shock us. There is too much gore to the point of being absurd. I mean fountains of blood. If it comes out of someone strong like Chris Hemsworth then it makes somewhat sense but everyone bursts out huge streams like blood filled balloons. Not only that but after bearing a fatal attack, which would be enough to kill a normal human being, the caharacters react in the next scene as strong and less bothered as nothing has happened. The dialogues are cheese loaded and the sequences building up to the plot points are master cliches. For example: A couple decides to go out in the woods in the middle of the night for sex, seriously and that terrible truth and dare game. Not to say that these actions were not justified, because they do have an explaination but that leads to whole other plathora of plot holes. Seemingly people liked the film because it changed its course at every turn. This can be a good thing for a film if the tone remains static overall. It did have some obvious social commentary but that didn't work for me because it was glossed up with too many cliched acts and unnecessary 'funny' moments.

Now comes the good. As mentioned before, there are some surprises and some of them work too. The last act is particularly interesting and inarguably the most expensively produced too. At that point you would have seen so much that your brain should switches off which would enable you to enjoy the ride along the way. That works! By the last scene I wanted to see something so bad, thankfully I did but just to a degree. Watch the film to know what I'm talking about. Watching the film you can not help but notice that this film is written by someone who loves horror genre. This film in itself works like a tribute to all the good horror films we have grown watching. There are too many references but in order to keep it spoiler free I won't mention which ones. It's suffice to say that you will notice the subtle ones and smile, for knowing the source film. Then there are obvious ones which have a tendency to actually put some people off. For me, they worked. To give you hint, it's about famous horror film creatures.

Conclusion:
 Finally, I would say there are good points and there are bad ones. In the end the overwhemling emotion was fun. I had fun and enjoyed the ride. That's what you should do. I had to keep the story vague and almost untouched because that's the point. Once you would know it then there is no fun. Honestly, that's what it is to this film. So go on, don't read the synopsis and avoid the trailers ( which you would have definitely watched by now). Have fun and come back to have your say in the comments if you like it or not.