Director: David Robert Mitchell
Starring: Maika Monroe, Keir Gilchrist, Olivia Luccardi, Jake Weary, Lili Sepe
Horror, like may genres, seems to go through trends. What was once classic monsters films such as Dracula (1931) and Frankenstein (1931) became unkillable maniacs chasing teens (played by 28 year olds) to their inevitable and, might I add, creatively gory demises (Freddy and Jason, you scamps, you). Found Footage movies resembling the Youtube Generation’s preferred method of receiving media spawned from the trend setting The Blair Witch Project back in 1999 (if you don’t feel old, lucky you). Or the Torture Porn crassness of everyday characters tortured for the pleasure of another everyday character (not a fan myself). Occasionally, a movie will come out which breaks the mold of convention, standing out from the the status quo. John Carpenter’s The Thing (1982) and Alien (1979) are examples of pictures that took common conventions and integrated them into a new style. Using Sci-Fi, Horror, desolate locals, and a unknown entity bent on chaos, as well as the greatest plot device, “Who can you trust?” they allowed us to be there with the characters and learn along with them. To sympathize with the plight as our own worst fear boiled in our bellies. It Follows (2014) is now a part of that mold breaking pantheon.
Using the old trope of “Sex leads to Death,” It Follows balances story and scares in a way not seen in sometime. When Jay, played by Maika Monroe of The Guest (2014), sleeps with her boyfriend, he passes a curse onto her. An unknown entity with the ability to look like whomever it chooses will walk towards Jay, no matter where she goes, until it kills her. Rules: Only she can see It and to stop the curse she must “pass it along.” Unfortunately, that is a terrible explanation of this film. To elaborate anymore would do the viewer a disservice. Let me explain.
It Follows mirrors 80’s horror in many aspects. The clothes are dated, yet modern convinces are present in the form of cell phones and such. Out of place, yet oddly works. Shot in Detroit, the neighborhood has an unease which hangs over the characters throughout. Ease is brushed aside early on. The characters are genuine and act with an unknowing subtlety as the events unfold, grounding them to the audience.
Let’s talk about the story for a sec. I know that on paper this is a wacky idea and in unskilled hands could have been a disaster. Director Davis Robert Mitchell crafts an unassuming world where nothing ever happens. A perfect backdrop for a protagonist that never breaks a brisk stroll. Yet, as in the Mummy movies of yesteryear, Mitchell finds a way to make the "slow bad guy" terrifying again. I feel as though I’m saying too much so I’ll wrap it up.
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| Run, don’t walk, to see It Follows. |
If Follow was one of the most innovative Horror films I’ve watched in years. The scares come out of nowhere, questions keep you guessing, everything you want in a scary movie. Not for the kids and grannies (unless they are badass grannies), It Follows is a solid watch. You can find it everywhere, so seek it out. And remember, always bring protection.
P.S. Read a review of
The Guest. A nice sidecar to It Follows.
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Horror, like may genres, seems to go through trends. What was once classic monsters films such as Dracula (1931) and Frankenstein (1931) became unkillable maniacs chasing teens (played by 28 year olds) to their inevitable and, might I add, creatively gory demises (Freddy and Jason, you scamps, you). Found Footage movies resembling the Youtube Generation’s preferred method of receiving media spawned from the trend setting The Blair Witch Project back in 1999 (if you don’t feel old, lucky you). Or the Torture Porn crassness of everyday characters tortured for the pleasure of another everyday character (not a fan myself). Occasionally, a movie will come out which breaks the mold of convention, standing out from the the status quo. John Carpenter’s The Thing (1982) and Alien (1979) are examples of pictures that took common conventions and integrated them into a new style. Using Sci-Fi, Horror, desolate locals, and a unknown entity bent on chaos, as well as the greatest plot device, “Who can you trust?” they allowed us to be there with the characters and learn along with them. To sympathize with the plight as our own worst fear boiled in our bellies. It Follows (2014) is now a part of that mold breaking pantheon.
It Follows mirrors 80’s horror in many aspects. The clothes are dated, yet modern convinces are present in the form of cell phones and such. Out of place, yet oddly works. Shot in Detroit, the neighborhood has an unease which hangs over the characters throughout. Ease is brushed aside early on. The characters are genuine and act with an unknowing subtlety as the events unfold, grounding them to the audience.
Let’s talk about the story for a sec. I know that on paper this is a wacky idea and in unskilled hands could have been a disaster. Director Davis Robert Mitchell crafts an unassuming world where nothing ever happens. A perfect backdrop for a protagonist that never breaks a brisk stroll. Yet, as in the Mummy movies of yesteryear, Mitchell finds a way to make the "slow bad guy" terrifying again. I feel as though I’m saying too much so I’ll wrap it up.
Chappie. Chappie, Chappie, Chappie. What to say about Chappie? I’ve been trying to form an opinion since watching the film and so far I’m more up than down (despite it’s rough go at the box office and poor critic response). Oh, how rude of me, for those of out there wondering what in the heck is a Chappie, here’s a trailer: http://www.mockfilmsblog.com/2014/11/chappie-2015.html.
Director Neill Blomkamp’s (District 9 (2009)) latest, tells the story of a robotics genius Deon (Patel), who has revolutionized the police force of South Africa with the creation of robot officers. On the verge of a bigger breakthrough in Artificial Intelligence tech, Deon steals a bot ready for the junk heap, to test out the new software. Enter a group of hooligans who have bigger plans of using the robot (affectionally named Chappie) in a robbery. Finding that the robot’s personality is that of a developing child, Chappie is torn between what is right and wrong when the conflicting influences of his creator and his captors begin to contradict one another.
This review is a weird one. Let’s start with the easy part first, then shall we, the special effects. The design of Chappie was extremely believable. Played in Mo-Cap by Sharlto Copley (a staple of Blomkamps acting crop), Chappie felt real. His movements, lighting, reactions (and hilarious imitations of street slag) all came across as there in the room with the other actors. Something that could have further driven people to dislike this picture if not done correctly. The story (although seen in other iterations before) is well imagined and executed sharply. You feel for Chappie the way you would a scared and confused child. Blomkamp knows just the right strings to pull on the creatures he envisions and never gets too outlandish or cartoony. Now, not to go too far into spoiler country, I will share one waring, the plot does a slight rope-a-dope towards the end that will either make or break your opinion on the film (that is all).
Every now and again we stumble across a new and innovative looking film trailer that pricks up our senses, giving us hope that there are still original ideas left in the over troped world of cinema. Trailers, which bring us that feeling which my lucky generation had during the Indie era of filmmaking. Where a story didn’t fit a mold that was set years before by the cookie cutter flicks which became the standard. New concepts tackling bigger issues than man saves damsel in distress or god forbid another B.S. horror villain that will spews out the next big franchise. Many moons ago I came across one such trailer (as many on the internet did) called The Babadook (2014). "What the hell is a Babdook?” was an utterance heard anytime I recommended it to family or friends. “Just watch,” was always my reply. And with that, let’s hop in the Wayback machine and check out a trailer posted many months ago: www.mockfilmsblog.com/2014/12/the-babadook-2014-nr.html... All caught up. Wonderful. Let’s get into it then.
The Babadook, directed by first time feature writer/director Jennifer Kent, tells the story of a single mother named Amelia (played disconcertingly perfect by Essie Davis) who is coming to grips with both the death of her husband as well as the trying needs of her only son Samuel (Noah Wiseman in an unnervingly strong performance), who, after finding a strange pop-up book, believes an evil entity named The Babadook has become more than just a character from the macabre bedtime tale. After strange occurrences around her home coupled with Samuel’s increasingly erratic behavior continue, Amelia begins to break. Disturbed by her Samuel's obsession with protecting her from the (possibly) imaginary being, Amelia lapses into a mental state which questions whether there is something wrong with her weapon building son or have her own limit of stress driven her over the edge of sanity.
