Watched Alien :p

Let Me In
Its story is Superb!

The Rite was the last one I saw in theaters.

MOH: The Fair Haired Child (2006)

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Haven't seen any films from this 'master' before. But this is a good one.

>>: B

The Brazen Bull (2010)

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>>: D+

8213 Gacy House (2010)

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Another POV/found footage film from Asylum and this time it's not as good as Paranormal Entity. Hilarious in some parts with some annoying characters but overall not too bad. I even kinda liked it actually.:D

>>: C

Primal (2009)

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>>: B

A Lure: Teen Fight Club (2010)

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>>: D+

Escalofrío aka Shiver (2008)

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A decent Spanish horror with good production value & a simple storyline that offered lot a the beginning but didn't able to deliver that much.

>>: B

Tucker & Dale vs Evil (2010)

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A super Indie entertainer & great horror comedy that will most probably become a cult hit like Shaun of the Dead or Zombieland, but this time it'll be for the slasher fans. You'll find hillbillies, stupid college kids, local sheriffs, insane killer, weaponry as chainsaw & hatchet...all typical slasher elements with a chain of comedy of errors, where each error results a gruesome death. The cast did a good job but specially Tyler Labine played as Dale steals the show from everyone.
Though I downloaded & seen its work print and missed just one or two gore shots but the important thing is I think this hilarious slasher ride deserves a wide scale release around the world. But I can now wait for a good DVD release with full of cool features.

>>: A

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The Girl Who Kicked the Hornet's Nest (2009). Those detractors of this final installment of the Millennium Trilogy apparently have allergies to solid cinematic storytelling. My take on the whole trilogy is the first does a wicked job drawing us in with its discomfiting material. The second really does a fantastic job filling in the details of the story, at least as much as a film adaption can accomplish. And this finale follows through by tying it all together in an admirable fashion.

As in its predecessors, The Girl Who Kicked the Hornet's Nest possessed premium acting. Lisbeth's incredible character naturally steals the show, and Noomi Raplace rightfully deserves the accolades, but Michael Nyqvist and company solidify a foundation for her presence to make such an indelible impression. Even monstrous Micke Spreitz enjoys a little character development, even if by way of unthinkably pragmatic methods.

Luckily the second and third of the series used Daniel Alfredson as director, thankfully avoiding the disjointing feeling that could not be helped by the directorial ship-jumping between the first and second of the trilogy. Taking off right where Played with Fire left off, this thriller builds as the legalities and tensions left in the previous come to a boiling head. The photography seemed a little more obtrusive here, but its emotional impact filled the gaps where car chases and explosions are usually inserted to rally short audience attention spans.

The biggest disappointment with this trilogy was that I didn't want to see it end having not filled to capacity my admiration for Lisbeth, the character strengths of those determined to support Lisbeth despite herself, and those shadowy figures hell-bent on making her life intolerable.
d

La Haine (1995). The incongruity of this flick can be described as an artsy fartsy piece of vicious French thug cinema. Hatred is made into entertainment, an expostulation of a necessary movement by way of celluloid magnificence whose stylistic depth will require multiple viewings before hitting its philosophic foundations.

The story revolves around three friends whose ethnicities are not unaccustomed to hatred, but these guys can deal it out as well they can take it. Violence has become second nature, and the audience comes dashing in at the most explosive moment of our would-be thug's lives. The notion of hatred is explored with a voyeuristic and genuine flair. The result is a heart wrenching bite of reality as no solutions are offered, just reality painfully exposed.

The story was simple yet effect, with many WTF moments that seem unnecessary but in a movie of such impact, we all know better than that. In the intro there is a noteworthy quote whose import is infused into the heart of this movie's infrastructure. It even enjoys a repeat visit to keep us the viewer on track for fear that we may be enjoying ourselves almost too much. The puissance of the bathroom scene is not to be forgotten, its importance still fluttering just out of reach for character and audience alike. Maybe that scene's import is found in the movie's end, as powerful a movie punch as can be jawed even by the thickest of filmatic* skins.

The acting is documentary spot on, but the potentially gritty portrayal is softened by the directorial depth. Vincent Cassel is of course sensational. Along with his acting chops his mighty swagger was just coming into its own. Together with his compadres, played by Hubert Koundé and Said Taghmaoui, these guy make for a great trio in a world that offers no reprieve, no exit. It's them against the system, and the system has gots the money and the power.

Of course the real muscle of this movie comes from filmmaker Mathieu Kassovitz. That a movie with such a potent social message could be made not only watchable but enjoyable, that its significance has made ripples in other countries where it has become compulsive viewing by those in power, this is a pretty high water mark that is difficult to achieve. The accolades, though, are all more than deserved. The cinematography was nothing short of astonishing. Every scene meticulously composed, and then brilliantly transcribed onto the reel only to be edited with the aplomb of a master. The hip hop crane scene is not be missed, but instead repeated for as many times as seems appropriate.

The dialog felt authentic, and whilst its staccato nature made for a busy remote, it was worth every rewind. For those not blessed with the film's native tongue at your beckoning call, I suggest watching the more industrious scenes twice from the get go, first for the subtitles and then for the action as it splashes onto its mise en scène in its efforts to create one of the world's greatest moving string of compositions.

After its conclusion, with all that has happened, with all that was left unresolved, if this film does not leave your brain reeling, spinning restlessly trying to figure out what cinematic force of nature has just conducted a hit and run on your skull's innards, then you'd better lay off that weed man, cause its starting to leave some scars.
d

*I know I know, but it really should be a real word

Amer (2009)

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Amer is an abstract little homage to the 70’s popular & my beloved Italian Giallo films. Divided into three parts, which dissolve into one another, center around a female protagonist, Ana, played by three actresses — in childhood, adolescence and adulthood. It had the potential to become an awesome Giallo tribute if they could offered a well developed simple story (like The House of the Devil) instead of being too much vague in story telling as well as character wise that all comes with a bit of an art house treatment! The film has 1 or 2 dialogue but the magic comes along with the stunning camera works full with Fulcian close up shots, Argento’s eyes in the key hole, Bava like colorful lightings and effectively borrowed soundtrack from vintage giallo films (even there was a ‘drop of water’ sound--Black Sabbath!)…all were there expect for a meaningful story. The film uses almost all Giallo tools but overly relied on psychosexual tensions that continue with constant abstract visuals all through the end. Perhaps I didn’t get it properly but to me the whole effort was wasted that could revive the genre with a huge satisfactory level for the fans.

>>: C

The Illusionist (2010)

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>>: B+

Gulliver's Travels (2010)

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>>: C-

"Extraordinary measures" 7-8/10

Another amazing true story.

Harrison Ford was great as an eccentric grumpy medical researcher.




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"Skyline" 7-8/10

Nice alien invasion flick with an incredibly odd ending.