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STRONGER (2017) [DRAMA] - REVIEW + HD TRAILER

Stronger (2017)



Stronger is the inspiring real life story of Jeff Bauman, an ordinary man who captured the hearts of his city and the world to become a symbol of hope after surviving the 2013 Boston Marathon bombing.

Director:

Writers:

(screenplay by), (based on the book "Stronger" by) | 1 more credit »

Stars:


Stronger is the inspiring real life story of Jeff Bauman, an ordinary man who captured the hearts of his city and the world to become a symbol of hope after surviving the 2013 Boston Marathon bombing.  


Official Sites:

| |  »

Country:

Language:

Release Date:

22 September 2017 (USA)  »

Also Known As:

Dar stipresnis  »

Filming Locations:

 »

Box Office

Opening Weekend:

$1,611,899 (North America) (24 September 2017)
 »

Company Credits


Technical Specs

Runtime:

Color:

Did You Know?

Trivia

Both Jeff Bauman and Jake Gyllenhaal threw out the ceremonial first pitch at Fenway Park for the Marathon Monday game of April 18, 2016. 

Connections

 
There’s a great scene a little over halfway through David Gordon Green’s “Stronger,” in which Jeff Bauman, who lost both of his legs just above the knee in the Boston Marathon bombing, is trying to stand on new prosthetics for the first time. His face is pained and he mutters something about pins and needles, but everyone around him is just cheering, his mother shouting “You look awesome!” He doesn’t feel awesome. “Stronger” transcends your standard inspirational drama mostly through two fantastic performances, but also in the way it understands that trauma isn’t inspirational to the people who suffer it. During much of “Stronger,” Jeff will be told he’s a hero and reminded to stay “Boston Strong,” but will question again and again just what that means. And then Green’s film subverts its own message about the commodification of tragedy to become something even more remarkable—a statement on the value of images of survival. Some of it is too broad, and I wish the film dug a little deeper at times, but this is one of those rare inspirational films that earns its inspiration.

Screenwriter John Pollono’s adaptation of Bauman’s memoir spends very little time on set-up, but Green and his cast make the most of it. We meet Jeff (Jake Gyllenhaal), getting out of a sticky situation at his job at Costco so he can be in his lucky chair to watch the Red Sox game. They lost the last two because he wasn’t there. At the bar, we meet his beer-swilling family, played with sometimes-too-broad Boston accents and personalities by Miranda Richardson as Jeff’s mom and Clancy Brown as his dad, along with famous Boston comic Lenny Clarke as another relative, and others who sometimes feel straight out of Boston central casting—love the Sox, drink before noon, yell over each other, etc. Jeff’s friends and family sometimes feel a bit too broadly sketched, but they’re captured lovingly.

We also meet Erin (Tatiana Maslany), Jeff’s on-again-off-again girlfriend, who just happens to be running in the Boston Marathon the next day. In what feels like an effort to try and win her back a bit, Jeff makes a sign to greet her at the finish line. He’s at ground zero when the bombing happens, and he loses both of his legs below the knee. He becomes an even bigger story when he reports that he saw one of the bombers. Not only is he a survivor, but he’s going to help take down the enemy. Jeff becomes an image for a nation in need of a hero. But Jeff, with Erin by his side, has to learn how to survive as more than just a symbol.

Green and Pollono are at their best here when they’re focusing on the details of Jeff’s situation in ways that gauzy melodramas usually overlook. There’s a striking scene in which Jeff’s dressings are taken off for the first time, out of focus in the background, as we stay on Jeff’s face in the fore. He can’t look, and so we don’t see them clearly either. He’d rather look into Erin’s eyes. He’s scared and in pain, and she’s the only lifeline. Other scenes of tactile process—like making casts for his legs or how hard it is to get in the tub—add gravity and realism to what could have been a more manipulative experience.

Of course, what really grounds “Stronger” is the work by Gyllenhaal and Maslany, both giving performances at or at least near the top of their already-notable careers here. They’re both remarkably committed physically, but it’s how completely they stay in the moment that makes “Stronger” work. We believe their situation entirely, never feeling like they’re merely pulling heartstrings to get a response or playing melodrama instead of truth. So many performances in inspirational dramas are all about the external mountain the hero or heroine has to climb, but Gyllenhaal and Maslany recognize that it is the internal drama that will make these characters resonate.

A few of the beats don't work—some inspirational scenes would have been more powerful if they had been just a bit shorter—and there are some “Boston atmosphere” moments I just didn’t quite believe (like the cop who asks for a photo after pulling them over). But every time that “Stronger” threatens to become just another piece of Hollywood inspiration, something happens to bring it back to Earth, most often through the smart choices made by Gyllenhaal and Maslany (and, of course, Green’s direction of them). “Stronger” feels sometimes manipulative—it would be difficult to tell this story and not come off that way—but I’d be lying if I said the manipulation didn’t work. 

Jeff Bauman wondered aloud why he was considered strong just for being in a place that was bombed. He didn't consider himself a hero and shied from the spotlight. But the film about him becomes a striking testament to the power and human need for symbols of hope, and has the ability to be as inspirational to someone as Bauman’s true story. It understands the pain in Jeff’s face when he was standing for the first time, but also gets that for those who needed to believe in him, the moment was pretty “awesome.”
 
 This review was originally filed on September 9th, 2017 from the Toronto International Film Festival.
 

Final rating: 8/10 for the genre and 8/10 overall. Stronger is one of those movies which shows us what it means to be stronger in your life. It is epic when it comes up to heart touching moments and the story overall makes more than just one message.

 
Thanks for reading and have fun watching movies. 

FRIDAY CLASSICS - DOWNFALL (2004) [HISTORY] - REVIEW + HD TRAILER

Downfall (2004)

Der Untergang (original title)


Traudl Junge, the final secretary for Adolf Hitler, tells of the Nazi dictator's final days in his Berlin bunker at the end of WWII.

Writers:

(screenplay), (book) | 2 more credits »

Stars:


In April of 1945, Germany stands at the brink of defeat with the Soviet Armies closing in from the west and south. In Berlin, capital of the Third Reich, Adolf Hitler proclaims that Germany will still achieve victory and orders his Generals and advisers to fight to the last man. "Downfall" explores these final days of the Reich, where senior German leaders (such as Himmler and Goring) began defecting from their beloved Fuhrer, in an effort to save their own lives, while still others (Joseph Goebbels) pledge to die with Hitler. Hitler, himself, degenerates into a paranoid shell of a man, full of optimism one moment and suicidal depression the next. When the end finally does comes, and Hitler lies dead by his own hand, what is left of his military must find a way to end the killing that is the Battle of Berlin, and lay down their arms in surrender.  


Country:

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Language:

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Release Date:

8 April 2005 (USA)  »

Also Known As:

Downfall  »

Filming Locations:

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Box Office

Budget:

€13,500,000 (estimated)

Opening Weekend:

$210,232 (Austria) (17 September 2004)

Gross:

$5,509,040 (USA) (2 November 2013)
 »

Company Credits


Technical Specs

Runtime:

| (extended)

Sound Mix:

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Color:

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Bruno Ganz practiced Adolf Hitler's distinct Austrian accent with the help of a young actor from Hitler's area in Upper Austria. See more »

Goofs

When the teletype prints the incoming message from Göring, his name and title appear at bottom left; but when the operator tears off the sheet, it appears at bottom right. See more »

Quotes

[first lines]
Traudl Junge: I've got the feeling that I should be angry with this child, this young and oblivious girl. Or that I'm not allowed to forgive her for not seeing the nature of that monster. That she didn't realise what she was doing. And mostly because I've gone so obliviously. Because I wasn't a fanatic Nazi. I could have said in Berlin, "No, I'm not doing that. I don't want to go the Führer's headquarters." But I didn't do that. I was too curious. I didn't realise that fate would lead me ...
See more »

Crazy Credits

After the final credits there is a statement by the real Traudl Jung about her feelings of guilt and responsibility. In the British Cinema release, this is moved to before the credits. See more »

Connections

References Paths of Glory (1957) See more »

Soundtracks

Blutrote Rosen
(Hermann Hünemeyer / Alfred Krönkemeier)
Performed by Marek Weber and Orchestra
Courtesy of Musikverlag Ruthe 
 
"Downfall" takes place almost entirely inside the bunker beneath Berlin where Adolf Hitler and his inner circle spent their final days, and died. It ventures outside only to show the collapse of the Nazi defense of Berlin, the misery of the civilian population and the burning of the bodies of Hitler, Eva Braun, and Joseph and Magda Goebbels. For the rest, it occupies a labyrinth of concrete corridors, harshly lighted, with a constant passage back and forth of aides, servants, guards, family members and Hitler's dog, Blondi. I was reminded, oddly, of the claustrophobic sets built for "Das Boot," which took place mostly inside a Nazi submarine.

Our entry to this sealed world is Traudl Junge (Alexandra Maria Lara), hired by Hitler as a secretary in 1942 and eyewitness to Hitler's decay in body and mind. She wrote a memoir about her experiences, which is one of the sources of this film, and "Blind Spot" (2002) was a documentary about her memories. In a clip at the end of "Downfall," filmed shortly before her death, she says she now feels she should have known more than she did about the crimes of the Nazis. But like many secretaries the world over, she was awed by the power of her employer and not included in the information loop. Yet she could see, as anyone could see, that Hitler was a lunatic. Sometimes kind, sometimes considerate, sometimes screaming in fits of rage, but certainly cut loose from reality.
Against the overarching facts of his personal magnetism and the blind loyalty of his lieutenants, the movie observes the workings of the world within the bunker. All power flowed from Hitler. He was evil, mad, ill, but long after Hitler's war was lost he continued to wage it in fantasy. Pounding on maps, screaming ultimatums, he moved troops that no longer existed, issued orders to commanders who were dead, counted on rescue from imaginary armies.

That he was unhinged did not much affect the decisions of acolytes like Joseph and Magda Goebbels, who decided to stay with him, and commit suicide as he would. "I do not want to live in a world without National Socialism," says Frau Goebbels, and she doesn't want her six children to live in one, either. In a sad, sickening scene, she gives them all a sleeping potion and then, one by one, inserts a cyanide capsule in their mouths and forces their jaws closed with a soft but audible crunch. Her oldest daughter, Helga, senses there is something wrong; senses, possibly, she is being murdered. Then Magda sits down to a game of solitaire before she and Joseph kill themselves. (By contrast, Heinrich Himmler wonders aloud, "When I meet Eisenhower, should I give the Nazi salute, or shake his hand?")

Hitler is played by Bruno Ganz, the gentle soul of "Wings of Desire," the sad-eyed romantic or weary idealist of many roles over 30 years. Here we do not recognize him at first, hunched over, shrunken, his injured left hand fluttering behind his back like a trapped bird. If it were not for the 1942 scenes in which he hires Frau Junge as a secretary, we would not be able to picture him standing upright. He uses his hands as claws that crawl over battlefield maps, as he assures his generals that this or that impossible event will save them. And if not, well: "If the war is lost, it is immaterial if the German people survive. I will shed not one tear for them." It was his war, and they had let him down, he screams: betrayed him, lied to him, turned traitor.
Frau Junge and two other secretaries bunk in a small concrete room, and sneak away to smoke cigarettes, which Hitler cannot abide. Acting as a hostess to the death watch, his mistress Eva Braun (Juliane Kohler) presides over meals set with fine china and crystal. She hardly seems to engage Hitler except as a social companion. Although we have heard his rants and ravings about the Jews, the Russians, his own treacherous generals and his paranoid delusions, Braun is actually able to confide to Junge, toward the end: "He only talks about dogs and vegetarian meals. He doesn't want anyone to see deep inside of him." Seeing inside of him is no trick at all: He is flayed bare by his own rage.

"Downfall" premiered at Toronto 2004, and was one of this year's Oscar nominees for best foreign film. It has inspired much debate about the nature of the Hitler it presents. Is it a mistake to see him, after all, not as a monster standing outside the human race, but as just another human being?
David Denby, The New Yorker: "Considered as biography, the achievement (if that's the right word) of 'Downfall' is to insist that the monster was not invariably monstrous -- that he was kind to his cook and his young female secretaries, loved his German shepherd, Blondi, and was surrounded by loyal subordinates. We get the point: Hitler was not a supernatural being; he was common clay raised to power by the desire of his followers. But is this observation a sufficient response to what Hitler actually did?"

Stanley Kauffman, The New Republic: "Ever since World War II, it has been clear that a fiction film could deal with the finish of Hitler and his group in one of two ways: either as ravening beasts finally getting the fate they deserved or as consecrated idealists who believed in what they had done and were willing to pay with their lives for their actions. The historical evidence of the behavior in the bunker supports the latter view. ... 'Downfall,' apparently faithful to the facts, evokes -- torments us with -- a discomfiting species of sympathy or admiration."

Admiration I did not feel. Sympathy I felt in the sense that I would feel it for a rabid dog, while accepting that it must be destroyed. I do not feel the film provides "a sufficient response to what Hitler actually did," because I feel no film can, and no response would be sufficient. All we can learn from a film like this is that millions of people can be led, and millions more killed, by madness leashed to racism and the barbaric instincts of tribalism.

What I also felt, however, was the reality of the Nazi sickness, which has been distanced and diluted by so many movies with so many Nazi villains that it has become more like a plot device than a reality. As we regard this broken and pathetic Hitler, we realize that he did not alone create the Third Reich, but was the focus for a spontaneous uprising by many of the German people, fueled by racism, xenophobia, grandiosity and fear. He was skilled in the ways he exploited that feeling, and surrounded himself by gifted strategists and propagandists, but he was not a great man, simply one armed by fate to unleash unimaginable evil. It is useful to reflect that racism, xenophobia, grandiosity and fear are still with us, and the defeat of one of their manifestations does not inoculate us against others.

Final rating: 8.5/10 for the genre and 8/10 overall, a history drama, which shows a downfall of the Nazi-regime and also which shows the bad and cold sides of being of member of this terrible movement in Germany. Tragedy and poor horror of German history wrapped into a movie which shows the last hours of the leader and I seriously hope that this will never ever happen again.


Thanks for reading and have fun watching movies.

PITCH PERFECT 3 (2017) [COMEDY & MUSIC] - HD TRAILER 2

Pitch Perfect 3 (2017)



Following their win at the world championship, the now separated Bellas reunite for one last singing competition at an overseas USO tour, but face a group who uses both instruments and voices.

Director:

Writer:

Stars:


After the highs of winning the World Championships, the Bellas find themselves split apart and discovering there aren't job prospects for making music with your mouth. But when they get the chance to reunite for an overseas USO tour, this group of awesome nerds will come together to make some music, and some questionable decisions, one last time.  


Country:

Language:

Release Date:

22 December 2017 (USA)  »

Also Known As:

A Escolha Perfeita 3  »

Filming Locations:

 »

Company Credits


Technical Specs

Color:

Did You Know?

Trivia

Rebel Wilson has expressed interest in a Fat Amy spin-off film.

Thanks a lot for reading and have fun watching movies.

HORROR MOVIE DAYS - BLOG EVENT - 10 POINTS MOVIES - EVOLUTION (2015) REVIEW + HD EXTENDED TRAILER

Évolution (2015)


https://resizing.flixster.com/btjSekBStYkWHK0il8rZBhBxAEo=/206x305/v1.bTsxMjI2MjA4OTtqOzE3NDY2OzEyMDA7NDMyOzY0MA
The only residents of young Nicholas' sea-side town are women and boys. When he sees a corpse in the ocean one day, he begins to question his existence and surroundings. Why must he, and all the other boys, be hospitalised?

Stars:


7 wins & 13 nominations. See more awards »  
Nicolas is a boy living on a remote island set in the future, or another planet - or is it a dream? His village consists of white-painted houses located above the sea with a volcanic rock and black sand coastline, populated by young women and boys all of a similar age to Nicolas. Whilst swimming, Nicolas makes a discovery in the ocean, which is shrugged off by his mother, who, like all the women in the town has tied-back hair, is pale and wears a simple thin beige dress. Nicolas is curious, thinks that he is being lied to and starts to explore his environment, witnessing some unsettling scenes. He then finds himself taken to a hospital-like building where he, along with the others, undergoes a series of medical procedures by the women, dressed as nurses. He is befriended by one nurse, who becomes instrumental in the film's denouement. The film is not easy to categorise; it is not only enigmatic but beautifully filmed with deeply poetic imagery. It reflects the fear of the unknown, ...  

Official Sites:

Country:

| |

Language:

Release Date:

16 March 2016 (France)  »

Also Known As:

Evolution  »

Company Credits


Technical Specs

Runtime:

Color:

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

The hospital scenes were filmed in an old abandoned hospital. See more »

Quotes

Stella: What's that?
Nicolas: A ferris wheel.
Stella: And what does this wheel do?
Nicolas: You get on it and it spins around.
See more »

Soundtracks

Concerto pour ondes Martenot, II - adagio allegro
Composed by Marcel Landoswki 
If I had to pin down "Evolution," I'd call it a coming-of-age story, though it doesn't often employ the symbolic shorthand that so many tales of pubescent terror do. No, "Evolution" feels like a transmission from an alien world, one where all the important narrative information you need is  imparted visually. This is a supremely confident story about Nicolas (Max Brebant), a lonely little boy who grows up in a community of sickly-looking women. 

Nicolas refuses to believe, as his mother (Julie-Marie Parmentier) insists, that he is sick. He swims in the turbulent ocean that surrounds his island home whenever he can and gets lost in daydreams that he visualizes through crude pencil drawings he keeps hidden away from his mom and the legion of pale, sunken-eyed nurses. They keep Nicolas captive in a rundown-looking hospital for young boys. There are no men on the island, only boys and women.

We learn about Nicolas's world in increments, but not just because we are learning alongside Nicolas. This is a movie about the alien feeling that accompanies any natural process of adaptation. Writer/director Lucile Hadžihalilović ("Innocence") respects and preserves the mysterious, brooding energy that ushers adolescent Nicolas from one revelation to the next. This is, after all, a story about characters who know more than they care to admit and the moments that force them to change or die. It's a movie about discovery, and it's the most novel, unsettling horror film of the year.

We learn so much about Nicolas based on Hadžihalilović's gorgeous nature photography. We watch as Brebant navigates the shores of a remote island landscape: loamy rocks cover a sulfur-grey beach while waves roar and crash on the shore. Hadžihalilović never lets us lose sight of the fact that Nicolas is, unlike his fishy-looking captors, seeing the world through human eyes: we tellingly don't see the ocean floor until we've already seen the skyline. 
Still, we watch Nicolas from a distance, as we watch (from what appears to be a camera crane or maybe just through a wide-angle lens) when he travels across his island home, his path lit only by a small lantern. We know things he doesn't, as we see in scenes where Nicolas' nurses stoically watch medical footage of a Cesarean-section birth. But Nicolas understands that his world is unstable, that information is being withheld from him and that the status quo his mother enforces is ... well, off. He chokes down the weird gruel-like noodle dish she prepares for him, but based on his facial expression you can tell that on some level, Nicolas knows something is wrong. He likewise wants to trust nurse Stella (Roxane Duran), an atypically curious companion who becomes like a surrogate mother to Nicolas after his real mother abandons him to hospital care. But Nicolas can't trust Stella, as we see in the scene where she practically drowns him when they go swimming together.

Hadžihalilović's direction is remarkably assured. She and cinematographer Manuel Dacosse explain so much just using a dark color palette of seaweed-greens, brackish-greys, and azure blues. But Brebant's body language says almost as much, though it sometimes appears to be communicating relatively quietly. Take for example the scene where Stella asks Nicolas to see his drawings. She discovers his sketchbook completely by accident: she insists that they shower together once he is admitted to the hospital, though he resists the idea ("I can do it myself"). 
Once she starts to undress him, Nicolas' notebook falls out of his back pocket. He rushes to retrieve his drawings, but it's too late: Stella sees the book and politely demands that he show it to her. Here's where Brebant really impresses: he pauses before acquiescing. And in that pause, you can see that Nicolas knows more than his actions indicate. He knows he's not just being paranoid and that there is a very real chance that showing his drawings to Stella will lead to punishment. But he submits anyway. Without any dialogue, Brebant (who is filmed in a longshot that shows his body from head-to-toe) shows us that his character is excited but also suspicious. He's flattered by the attention and wants to let his guard down (perhaps because of having grown accustomed to submitting to the will of women like his mother). And he wants to change, an overwhelming desire that shows in his inward bent knees, deferred gaze and slouched shoulders. The makers of "Evolution" may dazzle viewers with an intoxicating visual style, but they never lose sight of Nicolas' humanity. Do not miss this film.

Final rating: 10/10 for the genre and 10/10 overall and again a horror movie from, which are always incredible and straight direct to the point but also with a sense, with a message, and with a touch that you will always remember. Do not miss this film.

And so this event about horror movies only ends with a true blockbuster in the history of real good horror movies. Hope you liked this little blog event. From tomorrow on we continue with the normal program again, new trailer, new reviews, but still all about movies, which I love so much. Thanks for reading and have fun watching movies.

HORROR MOVIE DAYS - BLOG EVENT - 10 POINTS MOVIES - UNDER THE SHADOW (2016) - REVIEW

Under the Shadow (2016)

PG-13 | | Horror, War | 30 September 2016 (UK) 





As a mother and daughter struggle to cope with the terrors of the post-revolution, war-torn Tehran of the 1980s, a mysterious evil begins to haunt their home.

Director:

Writer:

Stars:


Country:

| | |

Language:

Release Date:

30 September 2016 (UK)  »

Also Known As:

Bajo la sombra  »

Filming Locations:


Box Office

Opening Weekend:

$14.000 (USA) (9 October 2016)

Gross:

$30.999 (USA) (23 October 2016)
 »

Company Credits

Production Co:

 »

Technical Specs

Runtime:

Color:

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

First full-length feature for the director Babak Anvari See more »

Connections

Referenced in Frightfest 2016: In Conversation With (2016) See more »

Soundtracks

Djinn
Written and Performed by Gavin Cullen and Will McGillivray for Blacksands.Productions
Total silence is rare in "Under the Shadow." There is the wind, sometimes a whisper, sometimes a roar. Radio stations blare shouted speeches and chanting crowds. Calls to prayer echo. Air-raid sirens scream. Loudspeakers in the hallways of the college campus blare anthemic music. Even benign sounds—a toaster, a phone ringing, the music in a Jane Fonda workout video—occur at a jarring decibel level. When the background noise drops out, the silence is deafening. Something terrible is happening. The chaos in the outside world infiltrates the interior. "Under the Shadow," a Farsi-language debut feature written and directed by Babak Anvari, creates a world where reality itself is suspect. In a year filled with great first features, add "Under the Shadow" to the list.
Taking place in 1988 Tehran, during the "war of the cities" phase of the nearly decade long Iran-Iraq war, "Under the Shadow" is the story of Shideh (Narges Rashidi) and Dorsa (Avin Manshadi), a mother and daughter holed up in their apartment, withstanding the missile bombardment. As the attacks increase in frequency, the city empties of people. Shideh and Dorsa remain, at first because Shideh is stubborn, and feeling bullied by her absent husband's demands (over static-crackling phone calls from one of the war fronts where he is stationed) that she go stay with his parents. Shideh refuses, taping X's on the windows, hustling Dorsa into the basement during air raids, pulling out her illegal VCR to do Jane Fonda workouts (after closing the curtains).

There are signs early on that all is not entirely well. Shideh has a history of sleepwalking. Dorsa has night terrors. When Shideh is expelled from her medical school for political activity during the Revolution, her husband Iraj (Bobby Naderi) is sympathetic but also says, "Maybe it's for the best." There is simmering resentment in the marriage, exacerbated by the instituting of laws requiring chadors worn in the street and a hemming-in of women's mobility. Those laws have infiltrated personal relationships, highlighting fissures in the home that may have already been there.

The atmosphere in the apartment building among the residents is one of whispered rumors, suspicion of one another, belief in portents of doom. An orphan child living with the landlord informs Dorsa that the building is haunted by a djinn. The landlord's wife believes in djinn, telling Shideh: "They travel on the wind, moving from place to place until they find someone to possess." Djinn are most active "where there is fear and anxiety," according to banned Iranian writer Gholam-Hossein Sa’edi, whose book Shideh reads, looking for answers. Shideh tells Dorsa repeatedly there is no such thing as a djinn but slowly, over time, Shideh begins to doubt herself. Things disappear. Dorsa's beloved doll vanishes. Shideh's beloved Jane Fonda tape ends up in the garbage. Shideh's medical textbook, locked in a cabinet, somehow ends up in another apartment. When Shideh finally decides that it's time to go to Iraj's parents, Dorsa refuses to leave until her doll is found. Dorsa develops a fever. And then things get really weird.
Babak Anvari moves "Under the Shadow" from realism into horror almost imperceptibly. It is impossible to know what is real and what is not, what is a result of Shideh's exhaustion and what is a valid response to living in a war zone. Cinematographer Kit Fraser, who also shot Anvari's short films "Solitary" and "Two & Two" (the latter nominated for a BAFTA) starts with a naturalistic style and then shifts, the apartment becoming a manifestation of its trapped inhabitants' psyches. Cracks in the ceiling exaggerate themselves overnight. The concrete steps to the basement stretch down into darkness like a disorienting Escher woodcut. The tarp held down over the hole in the roof from the intrusion of an unexploded missile snaps in the wind like a sentient being.

While "Under the Shadow" has much in common with "The Babadook," especially in its portrayal of shared sleep-deprivation in mother and child as well as an interior that morphs into a nightmarescape before our eyes, it is also reminiscent of Roman Polanski's "Repulsion," where grasping arms emerge from hallway walls suddenly, soft like clay, and gigantic cracks shiver across walls and ceiling. The building in "Under the Shadow" swallows up dolls and people and textbooks and VHS tapes. It's filled with the sounds of knocking and rattling, far-away shrieks and moans (Alex Joseph's sound design is superb). You can take all of this at face value, or you can take it as a metaphor for the destruction outside those walls, from the war, from the Revolution before it. It works either way.

The trauma of war and societal upheaval is rendered human-sized in "Under the Shadow," even with the paranormal elements. Anvari is Iranian-born, with childhood memories of the Revolution and the years following. "Under the Shadow" is clearly a personal film, and Anvari has assembled an extremely talented team to make that a reality. Production designer Nasser Zoubi and set decorator Karim Kheir create the period gently, without a hint of nostalgic fetishism. The visual effects are sparingly used but truly spooky, and there are many spine-chilling scream-worthy moments.

The two leads, Rashidi and Manshadi, create a relationship prickling with tension and impatience, exploding into mutual rage and suspicion. It is amazing to consider that this is Manshadi's debut. When she digs her heels in, she really digs her heels in. Her eyes squint with hostility when she looks at her mother tearing apart a bedroom looking for the missing doll. Dorsa sees things her mother cannot. She speaks to entities that are not there. She believes. Rashidi's visceral performance is meticulously structured in its emotional progression, although the end result does not feel "structured" at all. What we see is a woman losing her mind. The cracks in the ceiling open ... what will come through? Can it be kept out? Will the solid ever be solid again? There is no escape, for characters or audience. "Under the Shadow" is unnerving in the extreme.

Final rating: 10/10 for the genre and 8/10 overall and it is the best example of a movie from an off stream producer and country which is anything else than off stream.


Thanks for reading and have fun watching movies.

HORROR MOVIE DAYS - BLOG EVENT - 10 POINTS MOVIES - THE BLAIR WITCH PROJECT (1999) - REVIEW

The Blair Witch Project (1999)

PG-13 | | Horror, Mystery | 30 July 1999 (USA) 

 

Three film students vanish after traveling into a Maryland forest to film a documentary on the local Blair Witch legend, leaving only their footage behind.

Directors:

, (as Eduardo Sanchez)

Writers:

, (as Eduardo Sanchez)

Stars:


Three film students travel to Maryland to make a student film about a local urban legend... The Blair Witch. The three went into the woods on a two day hike to find the Blair Witch, and never came back. One year later, the students film and video were found in the woods. The footage was compiled and made into a movie. The Blair Witch Project.  


Official Sites:

|

Country:

Language:

Release Date:

30 July 1999 (USA)  »

Also Known As:

El proyecto Blair Witch  »

Box Office

Budget:

$60.000 (estimated)

Opening Weekend:

$29.207.381 (USA) (1 August 1999)

Gross:

$140.539.099 (USA)
 »

Company Credits

Production Co:

 

Technical Specs

Runtime:

| (Special Edition)

Sound Mix:

Aspect Ratio:

1.33 : 1

Did You Know?

Trivia

The nighttime shot of Heather running through the woods (a prominent image in the trailers) had to be filmed twice because of logistical problems. See more »

Goofs

After the map is lost, there is much talk of following a single direction in the hope of getting out of the woods ASAP. The most obvious course of action (which occurs, apparently, to no-one) would be to follow the course of the river that they keep crossing then hiking away from. See more »

Quotes

Heather Donahue: Do you just expect me to do something or say something? What do you want me to do, Josh? Josh?
Joshua Leonard: I wanna make movies, Heather. Isn't that what we're here to do? Just to make some movies.
Heather Donahue: Fuck you. Fuck you. Really. Fuck you.
See more »

Crazy Credits

The beginning and end credits are designed in the style of a documentary, e.g. jumping slightly, static instead of rolling credits. See more »

Connections

Referenced in I-See-You.Com (2006) See more »

Soundtracks

Rigors
Written by Klaus Heesch
Performed by Digginlilies
Courtesy of Juicy Temples 
We're instinctively afraid of natural things (snakes, barking dogs, the dark) but have to be taught to fear walking into traffic or touching an electrical wire. Horror films that tap into our hard-wired instinctive fears probe a deeper place than movies with more sophisticated threats. A villain is only an actor, but a shark is more than a shark.

"The Blair Witch Project," an extraordinarily effective horror film, knows this and uses it. It has no fancy special effects or digital monsters, but its characters get lost in the woods, hear noises in the night and find disturbing stick figures hanging from trees. One of them discovers slime on his backpack. Because their imaginations have been inflamed by talk of witches, hermits and child murderers in the forest, because their food is running out and their smokes are gone, they (and we) are a lot more scared than if they were merely being chased by some guy in a ski mask.

The movie is like a celebration of rock-bottom production values--of how it doesn't take bells and whistles to scare us. It's presented in the form of a documentary. We learn from the opening titles that in 1994 three young filmmakers went into a wooded area in search of a legendary witch: "A year later, their footage was found." The film's style and even its production strategy enhance the illusion that it's a real documentary. The characters have the same names as the actors. All of the footage in the film was shot by two cameras--a color video camcorder operated by the director, Heather (Heather Donahue), and a 16-mm. black and white camera, operated by the cameraman, Josh (Joshua Leonard). Mike (Michael Williams) does the sound. All three carry backpacks, and are prepared for two or three nights of sleeping in tents in the woods. It doesn't work out that way.
The buried structure of the film, which was written and directed by Eduardo Sanchez and Daniel Myrick, is insidious in the way it introduces information without seeming to. Heather and her crew arrive in the small town of Burkittsville ("formerly Blair") and interview locals. Many have vaguely heard of the Blair Witch and other ominous legends; one says, "I think I saw a documentary on the Discovery Channel or something." We hear that children have been killed in the woods, that bodies have disappeared, that strange things happened at Coffin Rock. But the movie wisely doesn't present this information as if it can be trusted; it's gossip, legend and lore, passed along half-jokingly by local people, and Heather, Josh and Mike view it as good footage, not a warning.

Once they get into the woods, the situation gradually turns ominous. They walk in circles. Something happens to their map. Nature itself begins to seem oppressive and dead. They find ominous signs. Bundles of twigs. Unsettling stick figures. These crude objects are scarier than more elaborate effects; they look like they were created by a being who haunts the woods, not by someone playing a practical joke. Much has been said about the realistic cinematography--how every shot looks like it was taken by a hand-held camera in the woods (as it was). But the visuals are not just a technique. By shooting in a chill season, by dampening the color palette, the movie makes the woods look unfriendly and desolate; nature is seen as a hiding place for dread secrets.
As fear and desperation grow, the personalities of the characters emerge. "We agreed to a scouted-out project!" one guy complains, and the other says, "Heather, this is so not cool!" Heather keeps up an optimistic front; the woods are not large enough to get lost in, she argues, because "This is America. We've destroyed most of our national resources." Eventually her brave attitude disintegrates into a remarkable shot in which she films her own apology (I was reminded of explorer Robert Scott's notebook entries as he froze to death in Antarctica).
At a time when digital techniques can show us almost anything, "The Blair Witch Project" is a reminder that what really scares us is the stuff we can't see. The noise in the dark is almost always scarier than what makes the noise in the dark. Any kid can tell you that. Not that he believes it at the time.

Final rating: 10/10 for the genre and 8/10 overall. Stunning Horror Movie and when I was a kid I was super afraid to watch this and also to go into the woods alone.

Thanks for reading and have fun watching movies.

HORROR MOVIE DAYS - BLOG EVENT - DRACULA UNTOLD (2014) - REVIEW + HD TRAILER

Dracula Untold (2014)


As his kingdom is being threatened by the Turks, young prince Vlad Tepes must become a monster feared by his own people in order to obtain the power needed to protect his own family, and the families of his kingdom.

Director:

Writers:

(screenplay), (screenplay) | 1 more credit »

Stars:


At the turn of the century, the young lord Vlad and his family live a peaceful life ruling over their small kingdom, but when a Turk warlord demands from Vlad a thousand boys and his son to create an army Vlad seeks a terrible power that will allow him to protect his kingdom and family from the Turks at a terrible cost.

Country:

|

Language:

|

Release Date:

15 October 2014 (Philippines)  »

Also Known As:

Drakula Neispričani  »

Filming Locations:

 »

Box Office

Budget:

$70.000.000 (estimated)

Opening Weekend:

$23.514.615 (USA) (10 October 2014)

Gross:

$56.280.355 (USA)
 »

Company Credits


Technical Specs

Runtime:

Sound Mix:

|

Color:

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

The lines that Vlad quotes at the end ("Why think separately of this life and the next when one is born from the last?") are from the poem Look at Love by Mevlana Jelaluddin Rumi, a 13th century holy man and mystic. 

Goofs

While in history Mehmed first defeated Vlad (Vlad Tepes) in 1462 and Vlad fled to Hungary and prisioned until he released in 1474. In 1476 he attacked to Ottomans and defeated again but this time Vlad's head was brought to Mehmed as a proof. Mehmed died 5 years after he defeated Vlad III for the second time. After he defeated Vlad III he put Radu in that position and the region was still a part of the Ottoman Empire till 19. Century.

This is a fictional movie that is based on the fictional writing Bram Stoker.

First, some good news: "Dracula Untold," a sort of "Batman Begins" prequel, isn't as tacky as it sounds. There are glimmers of a brooding and icky horror epic scattered throughout the film, particularly in its surprisingly romantic, matte-painting-esque backdrops and impressionistic vampire's-point-of-view shots. But that leads me to the bad news: if you step away from "Dracula Untold" long enough to describe it, you'll realize how soul-crushingly unimaginative it is. This is, after all, a "Maleficent"-style anti-fable that relies on your instant recognition of Dracula while trying to rehabilitate and recast Bram Stoker's bloodsucker as a Byronic hero. Still, the good news barely outweighs the bad in "Dracula Untold," a lightweight war-adventure that is ultimately stranger and more enticing when it remembers it's also a horror film.

In the beginning, a boring narrator natters on about how Vlad "Dracula" Tepes (Luke Evans) was a former Transylvanian child soldier who was abducted by Turks, trained to fight, blah blah blah...he's a killing machine. Then, we actually meet the guy: a soldier kneeling in prayer before a forest of pikes bearing his impaled foes. It's a creepy image, and one that should be held for at least twice as long as it is. Unfortunately, the makers of "Dracula Untold" typically hit the fast-forward button, and rush to the next chain of events. Vlad is given an ultimatum from Turkish Sultan Mehmed (Dominic Cooper) while feasting with angelic wife Mirena (Sarah Gadon), she of the blue eyes, and generous cleavage: give Mehmed 1000 Transylvanian child soldiers, or take on Mehmed's overwhelming forces.

Herein enters the homo-eroticism that the film sometimes cannot suppress: Vlad and Mehmed are childhood rivals, trained together in the army of Mehmed's father. But Mehmed's threat is a visceral reminder of events that are only alluded to in the aforementioned voiceover-reliant introduction. Vlad strikes a deal with a vampire (Charles Dance) that offers him an alternative deal: stay human and die, or temporarily become a vampire and destroy Mehmed's army. This would be a simple choice were it not for a ridiculous convolution: if Vlad drinks human blood, he will permanently become a vampire, and wind up sucking forever. Yes, that was a pun, and no, you don't get an apology.

Nor should you expect one in a review of "Dracula Untold," a bizarrely ambitious popcorn cash-in that's also half-baked in all the expected ways. The film's battle scenes are over-edited, Cooper's villain is a snooze, and there's simply not enough sex and death in an origin story about the archetypal sexual predator. Instead, there's a predictable attempted-rape scene, and a lot of paradoxically plodding hints that Mehmed and the Turks weren't that into women. There are also several scenes where Dracula turns into a cloud of bats, and even one scene where he scales a black cliff bare-handed while wearing a red cape, as if he were Wagner's Siegfried. 

If you can selectively ignore this litany of inanity, you may find some substantial earthy pleasures in "Dracula Untold." Despite its PG-13 rating, the film does periodically erupt into surprisingly gruesome violence, like when a vampire is gored, then reduced into an emaciated corpse. And cinematographer John Schwartzman ("The Rock," "Armageddon") reminds you why Michael Bay used to love working with him in every day-for-night landscape shot. Evans is surprisingly good at smoldering, and special-effects-reliant shots of Vlad turning into a monster are usually pretty enticing. These small, moody charms add up, and give a film that sounds so very dumb some much-needed atmosphere. There's not much more to "Dracula Untold," but it does periodically throb with surface-deep tension.

Final rating: 7/10 for the genre and 7/10 overall, a solid vampire movie, with some really scary but also sexy moments and a lot of bits.

Thanks for reading and have fun watching movies.
 
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