31 Saturday Oct 2015
Posted in Movie opinions and thoughts
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With Spectre out in cinemas and me going to see it on Monday, I had to ask a question about spies. The spy movie genre is filled with countless classics of danger, conspiracy and dark deeds. So the question is, which movie revolving around espionage is your favourite? Is it a Cold War tale? A technological thriller story? Bond or Bourne? Mission Impossible maybe? Or any other kind of spy movie you can think of? Whatever it is, feel free to share your opinion.
31 Saturday Oct 2015
Posted in Announcements
Tags
Just a quick post to wish everyone a wonderful Halloween. Whatever you’re doing, whether it be a party, trick or treating or just watching a scary film, have a great time. Stay safe and if some lunatic calls you on the phone a la Scream, hang up.
31 Saturday Oct 2015
Posted in Movie Reviews
Tags
2000's, Action, Adventure, Angelina Jolie, Christopher Barrie, Ciarán Hinds, Djimon Hounsou, Gerard Butler, Jan de Bont, Lara Croft Tomb Raider: The Cradle of Life, Noah Taylor
Film Title
Lara Croft Tomb Raider: The Cradle of Life
Director
Jan de Bont
Starring
The Cradle of Life is a weak sequel to the first Lara Croft movie. While the first one may have not been flawless, it was still a hell of a ride and executed well. The same can’t be said of this film which feels dull and recycled to say the least. A few sequences are good and Jolie is amazing as ever, but this film is just a mess from the start.
Lara is uncovering what seems to be the Lunar Temple, which is underwater and because of an earthquake slightly risen in the sea odd Santorini. 
Unfortunately once she gets in, she is ambushed by warlords who take a mysterious orb from the temple before Lara can claim it. Lara manages to escape just barely as the ruins collapse behind her. Back at home following that opening adventure, she is researching the origins of the orb and what it could mean or in fact be. Through extensive research and her knowledge of mythology, she deduces that the orb is in fact a map that once deciphered can lead to the mythical Pandora’s Box, which resides in the hidden cradle of life and once opened will emit all the sorrows of the world and bring forth disease. Soon enough, MI6 comes around and tasks Lara with finding the orb before it falls into the wrong hands. 
The hands in question belong to a scientist turned bio-terrorist named Jonathan Reiss, who wants to make money of the discovery and spread destruction in his wake. Enlisting the help of disgraced former soldier Terry Sheridan because of his knowledge of the warlords she encountered, she infiltrates a crime syndicate in China that Reiss is using to transport the weapon. With danger around every turn of her globetrotting, it’s just another day at the office for the intrepid and sexy Lara as she races against time to stop evil from being unleashed upon the unsuspecting world.
In terms of directing, Jan de Bont knows how to do action effectively, but here he seems all at sea and doesn’t bring anything new to the table. Cradle of Life seems to suffer from a lack of imagination and feels like something of a repeat of the first movie, just with different settings and not done as well. 
There is a story in here somewhere, it just doesn’t come off as riveting or even exciting. Saying that, there are some great locations and a couple of good sequences, but nothing quite lives up to the first one. And while the first movie had a lack of coherence, it still managed to be intriguing, which Cradle of Life fails to do. I just feel like this movie is such a let down when it could have been so fun and enjoyable. Only a pulse-pounding score manages to inject a sense of movement into the film and stop it from being completely unwatchable.
Angelina Jolie is probably the best thing in this movie and once again brings prowess, sex appeal and strength to the title character. Without Jolie in the role and in this film, it would be wholly unwatchable. 
Gerard Butler does what he is required to do as the rogue Terry, who shares moments of sparky chemistry with her. Now I must say I like Ciarán Hinds as an actor, but he is saddled with a less than engaging role as the main villain. The writing of his character just feels lazy and not even the talents of Hinds can fix that. I felt that Christopher Barrie and Noah Taylor were extremely underused as Hillary and Bryce, considering the witty humour they brought to the first movie. Djimon Hounsou doesn’t fare well here and is not given enough to do in the role of a tribal man who helps Lara out.
Cradle of Life is a lazy sequel that sucks the life out of what the first film did, and only for the music and presence of Angelina Jolie is it at all watchable.
31 Saturday Oct 2015
Posted in Movie Reviews
Tags
2000's, Action, Adventure, Angelina Jolie, Christopher Barrie, Daniel Craig, Iain Glen, Jon Voight, Lara Croft: Tomb Raider, Noah Taylor, Simon West
Film Title
Lara Croft: Tomb Raider
Director
Simon West
Starring
It isn’t going to go down as a work of cinematic high art, but Lara Croft: Tomb Raider is one of the better video game adaptations out there. If you can ignore the incoherence of the plot and some flimsy dialogue, it is a hugely enjoyable popcorn movie of the highest order with action in bulk and a feisty heroine.
Lara Croft is the thrill-seeking daughter of Lord Croft, who just like her late father is an explorer for ancient and fabled artifacts. 
She is the kind of girl who isn’t above getting herself into dangerous situations for the sake of recovering treasure of mythological renown as she can fight, has a wide knowledge of history and is skilled with an arsenal of weapons. She is aided in her ventures by cyber geek Bryce and loyal butler Hillary. The main plot of the film revolves around Lara’s discovery of a clock that her father hid away, which inside contains a unique key that can harness great power when it is placed in position during a planetary alignment. Once in position, the mythical two pieces of a triangle that has the power to manipulate time can be used. Yet both halves of the triangle are located vast distances apart which sets Lara off on an adventure, starting in Cambodia and ending up in Siberia to make sure the triangle isn’t activated by the wrong person. 
Standing in her way is the slimy Manfred Powell, a member of a secret organisation wanting to use it for their own gain and Alex West, a former lover of Lara’s who is just in it for the money. Locked head to head in a quest to find it, Lara knows it will be dangerous. But when it comes to danger, Lara is more than adept at facing it and the challenges that come her way.
Director Simon West shoots the film with agile pacing that make the action sequences immensely good and help paper over the cracks in the story. 
This isn’t going to go down as the best action movie ever, but Lara Croft is sure as hell entertaining. It boasts some stunning locations and nifty special effects to show the mythological aspects at play in Lara’s quest to recover the triangle. There is a real sense of movement in the film that keeps it going at a lively pace till the end as Lara does battle with foes. The writing in this film is quite laughable and unconvincing as well as the plot that is pure hokum. Yet somehow this movie emerges as very entertaining and superbly awesome in the best way described as guilty pleasure viewing. A thundering kinetic score of techno beats and drums also lends a hand to the action of the film in a very effective way.
Angelina Jolie is ideally cast as the eponymous heroine and gives her all to the part. 
With feline eyes, lithe athleticism and witty retorts, Jolie is a marvel at portraying this woman of adventure who isn’t afraid to venture into the lion’s den to get her glory or thrills. As well as being physically perfect for the part, Jolie invests Lara with an independence, resourcefulness and an all round sense of fun. It’s safe to say she owns the part. Iain Glen does his best slimy villain act and does it very well indeed. Noah Taylor and Christopher Barrie are a hoot as two of Lara’s trusted helpers; their comic timing is very enjoyable because of the opposite nature of their personalities. Daniel Craig may not nail an American accent, but he plays the shifting loyalties of his character excellently. 
And in a small but pivotal role, Jon Voight portrays Lara’s father in flashbacks with authority. The casting here is very interesting because Voight is Jolie’s father in real life and some of that really enters their scenes together.
So while it’s not exactly an action masterpiece, Lara Croft: Tomb Raider delivers the goods and a sizzling turn from Angelina Jolie.
30 Friday Oct 2015
Posted in Movie Reviews
Film Title
Shoot Em Up
Director
Michael Davis
Starring
Balls to the wall set pieces, brutal shoot outs and outrageously dark humour mix in the hugely enjoyable action extravaganza Shoot Em Up. Subtlety and overall logic goes out the window and this movie is all the better for it as it revs up the gears and doesn’t pause for breath. Think of a dozen action movies put in a blender and mixed to the highest speed and you get the general idea of what Shoot Em Up is promising you.
Carrot-munching loner Mr. Smith is minding his own business one night when he sees a heavily pregnant woman being chased by a pack of men with guns. 
Intervening and showing his own killer skill with any form of firearm, Smith manages to help the woman deliver her baby as he slays the bad guys. Sadly, the woman dies but Smith manages to escape with the baby boy. The leader of the goons after the baby is the crazed psychopath Karl Hertz, who doesn’t take kindly to Smith coming along and taking the child he wanted to get. Now in a game of violent cat and mouse, Smith flees as Hertz and his tooled up buddies come following at every turn. 
Smith enlists the help of prostitute Donna Quintano, who specialises in providing lactating services to her clientele. She is initially reluctant to help as her and Smith have history, but eventually comes around when Hertz attempts to find the baby and tortures her. As bullets fly and the chase begins, Smith and Donna must protect the baby from the harm that is coming very close to him in a crazy plot of seedy dealings and blood-splattered carnage, headed by the unstable Hertz.
From the get go, Shoot Em Up announces itself as a movie that moves at a hundred miles an hour and isn’t one for people who are looking for depth and substance. 
Words like audacious, over the top and outrageous were practically invented to describe a movie like this. Michael Davis successfully directs with daring flair, moving from one shocking set piece to the next while underscoring it with a perverse and mordant humour. And those set pieces are thrilling rides to say the very least; a battle while skydiving, a shootout during a passionate bout of lovemaking between Smith and Donna and Smith’s ingenious use of carrots as weapons. Many will take issue with the sheer preposterous nature of the film, but it is best to just surrender to the action spectacle and let your faith take a leap if you really want to revel in it. A cracking editing format of slow motion combining with razor-sharp cuts makes Shoot Em Up a kinetic movie of the highest order. And a fantastic soundtrack of heavy metal perfectly matches the dark events on the screen and the always on the move characters.
Clive Owen is the perfect person to play the role of the enigmatic but highly skilled Smith. He imbues the part with a cynical attitude and a chivalrous core, not to mention immense athletic prowess and marksmanship. I really couldn’t think of anyone better to play the role of this hero. 
Paul Giamatti essays the part of the crazed and know it all villain with delicious finesse and barely contained droll humour. To say he is a riot to watch would be a huge understatement to how off the wall he is in this movie. Monica Bellucci is excellent as the seductive prostitute with a heart of gold and a calming influence on Smith, who becomes something of a surrogate mother to the baby boy thrust into her protection from evil. Her chemistry with Owen is marvellous and the way they play off one another is quite something.
Over the top, unabashedly shocking and a complete thrill ride, Shoot Em Up is a crazy film that plays by its own rules and delivers action in spades.
28 Wednesday Oct 2015
Posted in Movie Reviews
Tags
1980's, Benedict Taylor, Bette Davis, Carroll Baker, David McCallum, Disney, Frances Cuka, Horror, Ian Bannen, John Hough, Kyle Richards, Lynn-Holly Johnson, Richard Pasco, The Watcher in the Woods
Film Title
The Watcher in the Woods
Director
John Hough
Starring
The Watcher in the Woods was Disney’s attempt to reach a slightly older audience with a spooky tale. Although critics may have sniffed at it, it has since become a cult film and one that I fondly recall enjoying as a child. Sure, there may be some parts that aren’t as effective as they once where, but I was pleasantly surprised that the film holds up rather well and is creepy, atmospheric viewing as Halloween approaches.
Paul Curtis, his wife Helen and there two daughters Jan and Ellie are an American family that move into a country house in England. 
The property is owned by the old Mrs. Aylwood who decides them stay as she is very particular on who lives there and who lives in a cottage on the grounds. Part of the reason that the old woman lets the family move in is because Jan bears a striking resemblance to someone important from her past. Soon after moving in, Jan and her sister Ellie begin experiencing strange events around them: Jan suddenly can’t see herself in a mirror and instead sees the figure of a girl begging for help while blindfolded, Ellie goes into various trance like states that talk of a past event, a blue light appears from the woods and they both have the feeling that something eerie is afoot in the surrounding area, most notably the large woods.
Mrs. Aylwood, after helping Jan when she falls into a pond and nearly drowns, begins to explain what may be behind the peculiar events that have plagued the girls. She had a daughter named Karen who she adored, but who mysteriously vanished while playing a game in a church with three of her friends located in the woods thirty years earlier. Jan begins to dig deeper into the mysterious disappearance and how it relates to the spectre haunting her, though the kids who were playing with Karen who have now grown up are reluctant to talk about what happened. With the help of nice local boy Mike, she starts to uncover what transpired all those years ago and how it haunts the present.
I must say that while Watcher in the Woods is aimed at young adults rather than grown ups, it does have its share of scares that will make you jump. Director John Hough utilities the setting of the woods and the forming mystery very effectively, peppering the movie with suspense and eeriness. A roving camera forming point of view shots, obscured by branches and foliage sends shivers down the spine as strange phenomena unfolds. 
The overall atmosphere lingers with strange and unnatural ambience that is hard to shake due to the ghostly visuals in the woods. The striking set of the woods brings uneasiness to the film and the dark, cavernous tress and mist is wholly appropriate. Now I must say that there are times when the movie becomes a bit dull, has some corny dialogue and needs an injection of pace, but mostly it keeps things ticking over. A marvellously sinister score, encompassing the pretty sound of a music box with unusual drums and brass makes many scenes in The Watcher in the Woods with a whole lot of mystery and darkness. 
The movie is not really frightening in a graphic way or really horrifying; its more of a creepy, slowly unwinding story with a ghostly sense of menace that makes it ideal for youngsters to see it but adults to enjoy too.
A generally well-chosen cast play their roles in decent fashion, though some get lost in the mix of it all and hardly have anything to really contribute. Bette Davis is on scene-stealing form as Mrs. Aylwood, imbuing her with a strangeness, sadness and weariness that really suit the character whose daughter’s disappearance forms the main story of the piece. Lynn-Holly Johnson is not the best actress out there, but she’s very good at displaying Jan’s fear and curiosity as the mystery targets her and she’s forced to get to the bottom of it. 
Young Kyle Richards is well-cast as the adventurous Ellie, who also finds herself plagued by strange visions and trance like channeling. Carroll Baker and David McCallum are really wasted in this film and they don’t bring much to it because their characters are so poorly written. More successful in terms of the adult actors are Ian Bannen, Richard Pasco and Frances Cuka as the grown ups whose childhood game ended in darkness and how these events have haunted them ever since. Benedict Taylor is thoroughly bland as a possible love interest for Jan that never really goes anywhere.
Some of it may be dated and weak, but overall The Watcher in the Woods is still an eerily effective movie of atmosphere and chills.
25 Sunday Oct 2015
Posted in Television Reviews
Tags
2010's, American Horror Story, American Horror Story: Freak Show, Angela Bassett, Denis O'Hare, Emma Roberts, Evan Peters, Finn Wittrock, Frances Conroy, Jessica Lange, John Carroll Lynch, Kathy Bates, Michael Chiklis, Sarah Paulson, Wes Bentley
This fourth season of the hit horror anthology entitled Freak Show boasts even more weird content than before. Even though there were flaws in the previous installment Coven, I think Freak Show emerges as the weakest season so far, putting it well below the supreme greatness of Murder House and Asylum. Though that may be the case, the cast, style and blend of strange and extremely unusual horror makes it at least have some currency and effectiveness, albeit in something of a tired capacity. Be warned, there will be spoilers in my review.
The setting is Jupiter, Florida 1952. Elsa Mars(Jessica Lange) is a glamorous German expat who is running a struggling freak show and has delusional ideas set on stardom. 
The floundering freak show’s fortunes have dwindled due to the increase in popularity of television and immense stigma aimed towards the performers in the show. She comes across a rare find: conjoined twins named Bette and Dot(Sarah Paulson), who were found looked away in their sheltered house with their mother brutally murdered. Although they share a body, they are two distinct personalities; Bette is dreamy and romantic, whereas Dot is stern and unsmiling. Yet they are very conflicting and occasionally their personalities overlap, clearly shown when it is later revealed that the sweet Bette was the one who murdered their horrible mother for locking them away. 
Elsa sees the girls as saviors for her show and takes them under her wing and in time they prove a prize-winning draw. But this comes at a price as Elsa grows increasingly jealous of the attention lavished upon them. The other members of the sinking freak show are Jimmy Darling(Evan Peters), who has hands that are webbed giving him the nickname ‘Lobster Boy’, his loyal mother and bearded lady Ethel(Kathy Bates) and later Jimmy’s strongman father Dell(Michael Chiklis) and his hermaphrodite wife with three breasts Desiree(Angela Bassett). Ethel keeps the fact that she is dying and that Dell is Jimmy’s father to herself because of history. Yet as the show begins to take off, horror and deception soon invades in various forms. 
A menacing clown known as Twisty(John Carroll Lynch) , clad in a horrific mask, begins to terrorise and kill people in the surrounding areas. He later finds a helper in the form of spoiled man-child Dandy Mott(Finn Wittrock), who is bored with his rich life and obsessed with the freak show, in particular Bette and Dot. But after being turned away by the show and when Twisty is taken away by a Halloween spirit adding to his collection, Dandy soon evolves into something more sadistic than ever, much to the worry of his subservient mother Gloria(Frances Conroy). After a police officer insults Jimmy and the other members of the troupe, out of anger Jimmy kills him and has to cover up the murder. Two money hungry con artists, Stanley(Denis O’Hare) and fake fortune-teller Maggie Esmeralda(Emma Roberts) infiltrate the camp, but while Stanley is willing to murder one of the freaks to get his dirty hands on a profit, the observant Maggie gets cold feet despite her skewed moral compass as her conscience catches up with her. So who will survive as carnage creeps in and evil rears its head once again, predominately in the form of the psychotic Dandy?
As I have already mentioned, Freak Show is for my money the weakest season so far. So I think it’s best to get my thoughts on the stuff that didn’t work out the way first because there is still some good parts to it and it isn’t a complete failure. I sometimes found some of the characters this time where not written with the usual verve that the show is known. And the fact that important characters seem to appear and then disappear, either by being killed off or god knows what else is a bit jarring. 
I just felt that Freak Show didn’t have the grip that past entries have so successfully evoked. The pacing could have been kicked up a notch or two, as certain episodes did drag before finding a bit of a groove. Then again, I know every season of a show can’t be amazing, but I expected a bit more from American Horror Story.
Moving on to the positives of this season, of which there are a number of. The visual palette popped with bright colours of the carnival, that acted as irony to the disturbing events brewing beneath the surface. The addressing of themes of prejudice provides a modern resonance, because while steps have been taken in the world to eradicate discrimination, it is still there. Freak Show portrays the circus troupe as human beings who have done nothing wrong but look different to others. Through this, we feel a sense of kinship towards them in their struggle for acceptance in a cruel world. 
I loved the two-part episode set on Halloween that features Edward Mordrake(played splendidly by Wes Bentley), a man with another head that speaks to him who collects a freak every Halloween. There is such an eerie feeling when he’s on screen and though his brief appearance we get glimpses into both Elsa’s and Twisty’s past and unearth tragedy in both. Freak Show also ups the ante on bloodshed this time, with many scenes of murder emerging as extremely disquieting and very disturbing to watch. And not forgetting an excellent score that combines with the unusual nature of the show and sends a doom-laden pulse through each frame. While I’m discussing music, I have to speak of the musical numbers that are sprinkled throughout. Modern songs placed in an older setting can often be jarring, but here it is quite enjoyable. The title sequence follows with a stop motion evocation of the carnival, complete with nightmarish clowns, carousels and strange figures. Once more, the title sequence is a tone setter with the customary unusual tics that have become the show’s trademark.
And despite the negatives that somewhat spoil the potential that this season had, the talented cast makes up for some of these errors with good work, often rising above the limited material they’re given to work with. The amazing Jessica Lange signs off from the show in style portraying the manipulative Elsa, who’ll do just about anything to keep her star in the ascendance. Lange just brings a whole wealth of emotions and drama to the character that I think her presence will be missed in future seasons of American Horror Story. Sarah Paulson turns in captivating work as the Siamese twins Bette and Dot. The way she displays the opposite personalities of both and then sometimes wraps them together is quite marvellous to view. 
Evan Peters exudes a sense of pathos and dignity as Jimmy, whose beliefs that the troupe should be treated equally is to be admired but whose actions regarding this sometimes end badly as he challenges the norm. Kathy Bates exhibits her usual high calibre mark to the role as the strangely accented Ethel, dealing with the fact she is dying and staying loyal to those around her. Angela Bassett has a sassy ability that she incorporates into Desiree, while Michael Chiklis as strongman Dell, who is fearing that a secret will get out, imbued the part with strength and emotion. Both of the roles played by Bassett and Chiklis I felt were underwritten, but they both sidestepped this flaw and made the parts better.
Joining the cast and making a huge impact is Finn Wittrock in the evil role of Dandy.
Essaying the part with bratty antics, a stunted, petulant manner, sinister smiles and arrogance, Wittrock makes Dandy a really frightening monster as his boredom with his rich life begins to manifest itself as murderous and heinous crimes. This season may be weaker, but one can’t fault the work of Wittrock here. John Carroll Lynch makes a mark despite his brief appearance as Twisty the clown. By turns immensely creepy and then when his back story is revealed quite sad, his presence can’t be forgotten. Frances Conroy has all the right nervous ticks and worry as Dandy’s mother Gloria. A delightfully slimy performance from Denis O’Hare as a remorseless con man is a highlight of the weirdness this show can conjure up, and Emma Roberts is convincing as his accomplice who has a change of heart after getting to know the troupe and feeling sympathy for them.
So while pushing the envelope once more with disturbing content and featuring a great cast once more, Freak Show lacks the killer punch of past seasons. Hopefully the next season can bring back some magic.
22 Thursday Oct 2015
Posted in 007 thoughts and reviews
Tags
As most of my followers know, James Bond is an icon to me and the franchise is ultra special. So I thought I’d post links to my Bond reviews of last year for those who may have not seen them, as Spectre is coming to cinemas very soon and I want to refresh everyone with my thoughts on 007. I hope you enjoy plowing through my takes on them.
21 Wednesday Oct 2015
Posted in Movie Reviews
Tags
1980's, Catherine Deneuve, David Bowie, Erotic Horror, Horror, Susan Sarandon, The Hunger, Tony Scott
Film Title
The Hunger
Director
Tony Scott
Starring
A stylish vampire horror with lots of 80’s excess and blood, The Hunger is also a very mixed film in terms of quality and watch ability. For all its visual panache and atmosphere, with the added bonus of a good cast, The Hunger in the end left me wanting something more from it and I felt that there was something missing from it.
Miriam Blaylock is a centuries old vampire who has the ability to bestow immortality on people she takes as consorts to ease her loneliness. Her current companion is John Blaylock, who has been with her for two hundred years travelling from domain to domain. 
The two are now in New York in a high-rise apartment, which they use to lure back unsuspecting victims to feed on their blood at least once a week. John believes that his youthful appearance will last forever but soon learns that it doesn’t. He will in fact live forever, but Miriam has not told him that his physical appearance will drastically wither away. Soon enough, John’s appearance begins to age at an alarming rate. Wanting help, he seeks out Dr. Sarah Roberts, a determined scientist who studies cases of advanced aging. At first she dismisses him, but after witnessing him age in just over two hours, she is shocked and wants to help. Unlucky for John, the aging continues and Miriam buries him in a coffin, alongside her other lovers over the years who are cursed to live forever but age horribly. Sarah is soon drawn into Miriam’s life and becomes bewitched by the alluring woman. And Miriam is now looking for a new lover and sees the perfect partner in Sarah. So on one of the their meetings, the seductive Miriam seduces Sarah and binds her to her by feeding on her blood. 
Sarah, who was unaware of this act, begins to develop worrying symptoms and begins to crave blood, leading to a gruesome, blood-soaked showdown with the imperious Miriam.
I’ll begin by going through the things that I took issue with and could have been improved on first. While The Hunger does have some thematic value, I always felt that the story and themes could have been pushed a little further than the finished results. The theme of immortality and the search for youth is an interesting one, but it gets swallowed up by the visuals and doesn’t really stand a chance. The pace of this movie can be really slow as a snail and meandering when it should have been a bit quicker. I understand going for a slow burn, but this really takes it a bit too far. The ending of the film also feels more than a little forced and undoes some of the intrigue that the film has built up but can’t sustain. In conclusion to the negatives, The Hunger just has that feeling of being hollow and not really reaching much of a worthy conclusion.
It must be said on the positives that The Hunger heralded the rise of Tony Scott as a stylish director with a keen eye. Everything in The Hunger is photographed with a certain gloss, that ties in with the setting of 80’s glamour and decadence. He masterfully inter cuts scenes to create visual symmetry and atmosphere. From rippling curtains, misty lenses and quick cutting, The Hunger is in the category of films that have a stunning impact on the eyes. 
I must day that the effects still stand up today, particularly when John begins to rapidly age. Scott does manage to tap into some of the themes in the story and certainly brings a darkly perverse and erotic core to it. I was similarly impressed by the way he updated vampire lore, instead of having the same old types of vampires we have seen a thousand times. The vampires here mingle into society, don’t seem to have an aversion to sunlight, have no fangs that we see and instead of biting the necks of victims they use a small knife to slit the throat and then proceed to feed. A perfect example of this is the striking opening scenes in which Miriam and John cruise around a dark nightclub and take home two unwitting victims to seduce and then feed their need. The style, music and visuals all fit together to give this opening scene a hell of an impact. 
Also worth mentioning is the seduction scene between Miriam and Sarah, as slow motion sensuality and a more sinister undertone perfectly mix to exotic effect, accompanied by the strains of opera. The unusual music score has a ghostly but strangely romantic twist to it and it makes for a chilling listen.
Catherine Deneuve is at the height of her icy and aloof powers here portraying the eternally beautiful Miriam, who is fond of company due to living for so long. 
There are glimmers of sadness that Deneuve brings out in subtle ways, but she’s most impressive when being alluring and poised, a vampire femme fatale whose kiss and appearance alone brings a hypnotic impact to those around her, in particular Sarah. David Bowie elicits a whole lot of sympathy as the aging John, who comes to see that he’s been spun a lie about how long he will remain youthful. The scene when he ages alarmingly fast is all the more sad for Bowie’s moving delivery of this betrayed man. Susan Sarandon is full of sensuality and curiosity as she becomes the latest victim of Miriam’s affections. Sarandon is also adept at displaying the fear that Sarah goes through as her body changes due to her sexual encounter with the icy Miriam.
So while the atmosphere and gloss of The Hunger is intoxicating, this doesn’t add up to the most riveting movie out there and it emerges as one that needed some other spark to ignite some form of interest.
20 Tuesday Oct 2015
Posted in Television Reviews
Tags
2010's, Brenda Strong, Charles Mesure, Desperate Housewives, Desperate Housewives Season 8, Doug Savant, Eva Longoria, Felicity Huffman, James Denton, Jonathan Cake, Kyle MacLachlan, Marcia Cross, Ricardo Antonio Chavira, Teri Hatcher, Vanessa Williams
And we finally arrive at the final season of Desperate Housewives. After years of murders, cat fights, strange occurrences, disasters, heartache and a whole lot of drama, it all comes down to Season eight. And what a fantastic season it as we take one final stroll down Wisteria Lane and bid farewell to the wonderful ladies who have populated it. I’m bittersweet at finishing this show as I’ve enjoyed it so much. Be warned, major spoilers will be following here.
We open exactly where Season 7 left off, with Carlos(Ricardo Antonio Chavira) having accidentally killed Gabrielle’s abusive stepfather Alejandro who came back to torment her again. Gabrielle(Eva Longoria), Bree(Marcia Cross), Lynette(Felicity Huffman) and Susan(Teri Hatcher) then take part in the cover up of the crime and the four of them bury the body in the woods, promising to keep it secret with a pact. 
Yet as they attempt to regain their lives again after this act and we fast forward a month, each struggles with keeping a lid on their involvement. The deceased Mary Alice(Brenda Strong) narrates again the dilemmas and situations that the ladies go through as they try to keep everything under control while surrounded by their own tests of friendships and troubled lives. Susan, who is usually the most honest and clumsy one, feels a whole lot of guilt for her part in it and looks like the closest one to cracking because she can’t tell anyone what she’s done, although she slips and tells her suspicious husband Mike(James Denton). 
Bree regains her sense of control as the one who spearheads the cover up, though her relationship with Detective Chuck(Jonathan Cake) withers and he begins to harass her about her knowledge of the crime out of bitterness. Just as he thinks he’s busted them with his vindictive games and questioning, he is run over and killed, but the investigation into Alejandro’s disappearance continues. As tempers become frayed, the girls cease talking to each other as their part in the crime gets to them, most of all Bree who turns to drink and men to ease the pain and even considers taking her own life. Orson(Kyle MacLachlan) returns, but has a darker purpose as he knows exactly what Bree has done and won’t let go of what they once had. Lynette tries to stifle her guilt while going through a separation with Tom(Doug Savant). It’s obvious that the two of them want their marriage to last, but there is a whole load of issues in the way that need rectifying, as Lynette finally acknowledges her sometimes controlling and judgmental attitude. Gabrielle, who the tragedy is most linked to carries on like nothing has happened but can’t escape the ghosts of the past. Neither can Carlos who is ravaged by guilt and soon descends into excessive drinking. Thankfully Carlos faces his problems and while doing this has an epiphany about doing something he can be proud of in his life that doesn’t involve taking off others. This leads to Gabrielle becoming the breadwinner by putting her skills to work at a job. 
Meanwhile, a new neighbour Ben(Charles Mesure) moves in and catches the eye of sassy Renee(Vanessa Williams). Ben, although ruthless when he needs to be, has some money problems and though Mike tries to help he is drawn into deadly danger because of a loan shark. Renee eventually falls for Ben, even despite her cynical attitude towards men and it looks like nuptials are on the cards as she sees he is a decent man who has had to suffer to get were he is today. As the friendships between the ladies are tested for the last time, will the ladies be able to cover up what they’ve done in this thrilling last season?
Two words spring to mind when describing the final season Desperate Housewives: eventful and exquisite. You could be worried that with all the drama and stories going on that this season would end up being confusing, but in classic fashion, it manages to juggle the balls without letting them slip. 
And the way the dramas play out and their resolutions is very neatly done, tying the ribbon on an impressive closing season. The mystery at play is all the more intriguing because it involves the four main women of the show and it focuses on their actions stemming from it. The writers did a sterling job at injecting drama into this dark mystery by focusing on the straining of friendship but in the end showing how despite all their differences, the ladies need one another. That’s what has made the show so watchable over the seasons, the friendship and evolving relationships of the women. We have come to sympathize with them, laugh with them and cry with them. And there are welcome dashes of humour peppered in there, but this final season succeeds due to the drama and underlying mystery that binds them all. Sure there may be the odd sub par episode, but overall it’s a handsome collection of stories woven together to give the series a thrilling send off.
Season 8 is probably one of the most dramatic in the history of the show and it leads to some truly emotional and memorable moments. The main one has to be the shock death of Mike, by the loan shark he encountered. The construction of the scene is just so sad as Mike discusses the good times with Susan and then is shot by the passing loan shark on his front porch. As he dies, his life flashes before his eyes and we get all the beautiful moments he has shared with the love of his life.
Then as Susan cradles her dead husband and lets out a painful cry as the love of her life slips away, you can’t help but cry. The following episode pays tribute to him as the ladies think about him, the impact he had and how his life has taught them all important lessons. It truly is a heartbreaking send off to a protective and strong character as Renee sings with sadness ‘Amazing Grace’ as his body is laid to rest. And then of course there is the last episode ever of this show, which wraps everything up including the outcome of the crime cover up. We have old characters returning with ultimatums, death, marriage, birth and reunion all coming together stunningly for the last time. This finale is an excellent love letter to the series that stresses how the women have remained so close and how Wisteria Lane is still a part of them, even after they all move away from it. That last poker game the ladies share is beautifully done and just makes you miss the stunning characters even more. 
And those final scenes of the ghosts of Wisteria Lane appearing as Susan departs was an excellent and poignant addition to the show, along with the sneaky hint that the Lane will still be a hot bed for scandal long after the curtain comes down. Specifically it’s wonderful to see the ghost of Mary Alice who has taken us on this journey with her keen observations, wit and intelligence.
The acting shown in this final season is of an exquisite standard, particularly the leading ladies. Teri Hatcher plays Susan beautifully, capturing that ebullient spirit, the devastating sadness when Mike is killed and the way she picks her life back up with the support of her friends. Hatcher just embodies her so naturally that it is hard not to be moved by her. 
Marcia Cross is on stellar form, conveying the layers to Bree from the controlling leader to messed-up confusion and back around again. Cross really owns the part and it’s hard to picture anyone else portraying Bree as well as her. The ever-dependable Felicity Huffman essays the role of Lynette with dignity, wry humour and loyalty as she reconnects with Tom and evaluates her attitude towards him. Huffman is a consummate professional and shades Lynette with an authentic touch. Lovely Eva Longoria exudes that familiar blend of self-assurance, diva behaviour and quiet emotional core that has made Gabrielle such a wonderful character to watch as the show has gone on. Vanessa Williams manages to bring warmth to the usually spiky Renee, whose facade of cattiness masks her insecurities. I liked how her relationship with Ben brought out these qualities to her and was happy when they married.
Charles Mesure brings just the right amount of rugged charm to self-made man Ben, who unexpectedly sweeps Renee off her feet. Ricardo Antonio Chavira once again impressed me as Carlos, who undergoes a change of personality after hitting a dark patch and emerges as a new man. Doug Savant is affable as ever as Tom and it’s wonderful when him and Lynette reunite as they are truly meant for one another. As the tragic Mike, James Denton is very moving and silently strong, which is why his fate is all the more shocking within the spectrum of things. 
Kyle MacLachlan and Jonathan Cake, although only appearing briefly, give some darkness and menace to this last season during the mystery investigation. And for the final time, the mellifluous and knowing voice of Brenda Strong guides us right up to the end of the tales as Mary Alice.
So what more can I say? This final season of Desperate Housewives is finely crafted television that is hard to forget as because of the characters, writing and the excellent story lines that have graced the television.
I for one am going to miss the wonderful ladies of the show and the dramas of their lives. Thanks to everyone who has read these reviews, I hope you’ve enjoyed them as much as I’ve enjoyed watching this show. All I can say is that I am happy I watched Desperate Housewives and loved it from beginning to end.
