Underworld

Tags

2000's, Action, Bill Nighy, Fantasy, Kate Beckinsale, Len Wiseman, Michael Sheen, Scott Speedman, Shane Brolly, Underworld

A dark action fantasy with imaginative mythology, Underworld certainly looks terrific and has a bit more plot than you’d expect. It’s an imperfect film, but with oodles of style and a kick ass Kate Beckinsale , Underworld holds the interest and has quite a few things to recommend.

A war has been raging for many centuries invisible to human eyes. It has been fought between the vampires and the werewolves, here called Lycans. Selene(Kate Beckinsale) is one such a vampire, referred to as a Death Dealer as she hunts down her enemy. We pick up with her as she hunts Lycans but finds something different this time. The Lycans are hunting a human by the name of Michael Corvin(Scott Speedman) ; which to Selene makes no sense as humans have no part of the conflict between the two clans. While pursuing Lycans, Selene becomes curious about Michael and how he somehow fits into events. The Lycans, headed by the slimy yet wily Lucian(Michael Sheen), have secret plans that involve blood and becoming more powerful . While the Vampires have plans to awaken one of their Elders very soon. Defying orders from the arrogant and scowling second in commands of  vampires Kraven(Shane Brolly), the reckless Selene investigates Michael and unexpectedly begins to care for him.  It then becomes clear that the conflict between the species isn’t as straightforward as many have been lead to believe. As various treachery is uncovered and her attachment to deepens, Selene begins to question what she’s been lead to believe just as the war hots up again and the dormant Vampire Elder Viktor(Bill Nighy) is awakened.

Len Wiseman is a very stylish director who makes a good go of bringing this story to life. He showers us with lashings of blood soaked violence, barrages of bullets captured in slow motion and leather gear throughout. And it must be said, on the visual scale, Underworld is rather dazzling . With a dark cinematography style bathing events in Gothic grey and moody blues, we are put into this nocturnal world of battles that feels fantastical and darkly intriguing.  What’s surprising about Underworld is that it isn’t just a mindless action fantasy, there is some good world building here. Occasionally it gets a bit too much with explaining things and the run time does leave a bit to be desired. I feel the movie flags in the midsection before all matter of violence breaks loose and sucks us back into the spectacle that was so entertaining. As I mentioned previously, it’s not a perfect movie but it’s sure as hell entertaining when it’s in high gear. It’s flawed but definitely got a lot going for it and I for one enjoy the good of what Underworld provides to me. A thumping score that is definitely what I’d call early 2000’s accompanies the film and fits in with the aesthetics quite well.

Underworld is not what you’d call an actors movie per say, though it has a handsome cast. Kate Beckinsale, clad in a figure hugging latex catsuit, has the appropriate sex appeal, icy cool and sullen attitude for her role of Selene. All these attributes work well as well as the physicality and reckless personality Beckinsale imbues into the part. She’s suitably cast and carries the centre of the e film as we watch her emotions become more prominent when Selene has tried to shut them off. In short, Kate Beckinsale is ideally cast and makes for a great kick ass heroine with a heart. Scott Speedman is mainly required to be startled and confused as the human caught in the midst of this war. Thankfully, Speedman does what he can with what he’s given and at least provides the centre of the story as he and Selene grow closer. Questionable morals and arrogant personality are on show from Shane Brolly as the leader of the vampires, who can’t help but feel inadequate when questioned by Selene and others on his judgment . Bill Nighy appears late but makes an impact as the Vampire, who while wise and seemingly respectable enough, may in fact be something more manipulative entirely .

So while it’s imperfect and not everything comes off, Underworld is still a largely engrossing fantasy with great action, nice wold building and good cast headed by the sexy Kate Beckinsale.

The Vow

Tags

2010's, Channing Tatum, Jessica Lange, Michael Sucsy, Rachel McAdams, Romance, Sam Neill, Scott Speedman, The Vow

Film Title

The Vow

Director

Michael Sucsy

Starring

• Rachel McAdams as Paige
• Channing Tatum as Leo
• Jessica Lange as Rita Thornton
• Sam Neill as Bill Thornton
• Scott Speedman as Jeremy

The Vow says that it’s inspired by true events, but any hope for something to invest your time in is destroyed by a sappy and schmaltzy approach that hinders just about everything in the film and makes it forgettable. There was a story here, but it just got lost under all of this corniness.

Young married couple Leo and Paige are madly in love and in a very good place where it appears nothing can touch either of them. They are crazy about the other and both are doing well job wise; Leo has recently opened a record studio and Paige, an art student, is currently crafting a sculpture for an important part of her course. But everything takes a sharp turn when they are both injured in a car accident. Leo comes out with only a few bruises, but Paige suffers damage to her brain that she has to be put in a coma. When she does wake up, she can’t remember anything of her time with Leo. It is as if the last five years of her life have been erased and she still believes that she is living in the past. Leo is understandably devastated by this, but being so devoted to Paige he makes it his mission to woo her again. He hopes that this will help her regain her memories and despite the protests from her estranged parents who come back on the scene, he resolves to do whatever he can to get the woman he loves back. This going to be a lot more difficult than he imagined as Paige seems to gravitate more to how she used to be, which includes the reappearance of her ex boyfriend Jeremy. Yet can Leo really win Paige back with his attempts before it is too late for them anymore? Or is any attempt futile for Paige as she is torn between everything she had and what she could have, due to the gaps in her memory?

Michael Sucsy is I’m sure a good director, but his hand isn’t that assured with The Vow. Though having said that, I think most directors would struggle to make this have an ounce of credence. Although inspired by true events, which I’m sure where a lot more dramatic and heartfelt than what was depicted here, The Vow just simply ambles along the rote formula of romance that isn’t the slightest bit credible. If the film makers had kept the film grounded in some feeling of sincere emotion, then The Vow could have been passable. I get that this is a Hollywood version of the story and some of it is bound to be embellished, but I would have preferred a bit more soul to the whole enterprise. Seriously as I’m writing this review, I am struggling to find something memorable in the film, which is proving a losing task as there is nothing really that redeemable. It moves from one cliché to the next within minutes, with barely anything ringing true in my mind. Sure the premise is one that is definitely emotional, but I wasn’t really touched that much by The Vow, only in fleeting moments that I can count on one hand. And it’s so shamelessly manipulative with what it wants you to feel, but even then, it doesn’t induce the misty eyes it strives to elicit. The visuals are bright and glossy which is pleasing enough, but if more attention was given to the story than crass button-pushing, The Vow may have been at least bearable. I found myself wanting something more real and not as predictable as the end result, sticking to the basis of story and not just going for sudsy melodrama might have helped. And not even a sweet score and soundtrack went any way in making this film an easy pill to swallow.

The pairing of Rachel McAdams and Channing Tatum is a nice one, despite the fact the characters are like cardboard cutouts more than people. Both of them are too talented for this sort of film, but try to bring something else. Sadly, that doesn’t come out and even though the chemistry is fine, the writing of the characters undoes any of the attempts made by McAdams or Tatum to make this credible. The blame can’t be put at their door as they at least attempt to salvage the mess, yet the tide of mediocrity from The Vow as a whole is too much against both appealing stars. The same sadly goes for Jessica Lange and Sam Neill, who are both given roles that are one-note to say the least, (that note being nasty and manipulative as Paige’s parents.) Once again, both actors are commendable in their endeavors to save this boring film, but are relegated to underused and not at all given an inch to flex their known skills. I mean, if you are going to hire actors of renown at least give them something to do, that isn’t asking for much is it? Scott Speedman, who has been very good in other movies he’s been in, is also stranded with a role that has no scope, that being the asshole ex of Paige.

So I must say The Vow just wasn’t the film for me. I found myself really disconnecting from it as it walked down the trite road to slush fest.  The story had definite potential, but it never went anywhere for me.

The Strangers

Tags

2000's, Bryan Bertino, Gemma Ward, Horror, Liv Tyler, Psychological Horror, Scott Speedman, The Strangers

Film Title

The Strangers

Director

Bryan Bertino

Starring

• Liv Tyler as Kristen McKay
• Scott Speedman as James Hoyt
• Gemma Ward as Dollface

Low on gore yet full of creeping suspense and terror, The Strangers is unnerving and genuinely terrifying psychological horror that will leave you sleepless.

A young couple, Kristen McKay and James Hoyt are staying at remote summer-house for a getaway before heading on a road trip. James proposes to Kristen, but she refuses and doesn’t want to rush things. With a wedge between them, they try to salvage a relationship which is already on shaky ground. Their attempts to rekindle their relationship are however put on hold by a knock at the door. Answering, a young girl whose face is obscured by a broken light, asks if Tamara is there. The couple send her away after telling her that no one of that name lives there. Everything seems fine, until another knock at the door which then escalates into torment from the girl, who is wearing a china doll mask along with two other masked assailants for back up. The trio begins to systematically terrorise Kristen and James with loud banging, violence and methodical ways of emotional torture as they trap them inside the house. Kristen and James are soon caught in a fight to survive the night as the assailants step up their campaign of terror by cutting off all contact or chance of escape. The terrified couple is forced beyond what they thought they were capable of in order to live through this twisted game orchestrated by the intruders for what seems to be their own sick enjoyment.

Bryan Bertino skillfully creates an atmosphere of dread without resorting to showy gore and carnage. Yes there is violence, but where the true scares of The Strangers lies is in the slow-burning build up that turns extremely frightening as events unfold. There may be nothing original or groundbreaking in The Strangers, but it isn’t trying to be something else and that’s why it is very effective. It understands the creeping power of excruciating silences interrupted by jump scares and the power of burnt orange lighting which sets the mood and harks back to the 70’s. The lighting in particular gives the movie extra scares because of the fact that at any moment one of the intruders may just spring from the dimly lit corner of the house to menace Kristen and James. This film exploits the fear of intrusion of where we consider to be safe and does a very good job at winding up suspense as Kristen and James have to evade capture if they have any chance of survival. And yes some people may say that the movie is unrealistic and at times you have to suspend your belief, but you have to admit that there is a plausibility to it that is hard to shake. I admired the way that the pace occasionally comes up for air and lets us sympathise with the two main characters(who are thankfully not two screaming teenagers but adults and well-played ones too) before plunging them, as well as us, into a living nightmare. A minimalist score keeps the piece laced with an unpredictable nature, that rises when the terror hits and then nestles into suspense.

Liv Tyler and Scott Speedman are both well cast as the victims in the twisted taunting game set up by the eponymous strangers. Both of them convincingly convey fear, uncertainty and desperation as they fight to survive ensuing horror. Tyler in particular rivets the attention with her expressive blue eyes and the way she exudes terrified vulnerability is really something. The three strangers sort of blend into together in their terrifying way, Gemma Ward is the only one who speaks and makes the most of the creepy lines she has to deliver.

So what The Strangers lacks in originality it more than makes up for in terrifying horror and effective performances.