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Grey, The (2012)

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The Grey ReviewStarring Liam Neeson, Dermot Mulroney, Frank Grillo, James Badge Dale, Joe Anderson, Dallas Roberts

Directed by Joe Carnahan


Survivalist tales that have made their way onto film and into the multiplex over the years tend to have more emotional resonance than your typical genre fare. Whether they are based on fact or purely fiction, these stories tap into the primal drive in all of us to simply stay alive no matter what the cost. Watching characters onscreen bond together during the most dire of situations forces us as viewers to imagine what we would do, how we would react, and what we are ultimately capable of in the wake of a tragic accident that suddenly hurls us into the grasp of an ungovernable wilderness that doesn’t care if we live or die.

Joe Carnahan’s The Grey is the newest addition to the survivalist sub-genre, sitting alongside coming-of-age films like White Water Summer while also showing a kinship with horror entries such as The Final Terror and Ravenous. The Grey also never gives in to melodrama, staying grounded in the realism of Frank Marshall’s depiction of cannibalism in the ‘90s classic Alive. But the film that probably shares the most in common with Liam Neeson’s latest entry in badassdom would have to be Lee Tamahori’s The Edge, the David Mamet-penned thriller wherein Anthony Hopkins and Alec Baldwin are hunted relentlessly by a Kodiac Grizzly.

The setup is usually the same: a harrowing and intense plane crash, a group dynamic slowly begins to form and then break apart due to constant peril and fear, a brave leader emerges and rescues the surviving few. Applause. In The Grey when the plane does begin to go down, it’s done with interior shots only and focuses mainly on Neeson’s character, Ottway. There are no epic effects shots of the plane’s wings being ripped off after crashing into a rocky mountainside, and on a subconscious level the somewhat intimate depiction of the wreck foreshadows future moments in the film that are much more personal and self-reflective in nature. These moments focus on the internal thoughts of Ottway surrounding his wife, moments that serve as poetic reminders of what his character is fighting for and, more importantly, how lost he is as an individual. Except for one brief sequence we only see imagery from Ottway’s past and perspective, but a number of characters get to reflect on their lives also, allowing them to tap into the good in them and find the will to go on.

Frank Grillo plays an ex-con working on the cursed oil rig these men are returning from as the film begins, and his character, Diaz, is the clear standout next to Neeson’s melancholy Ottway. Diaz transforms from being a scared anonymous punk into a respected member of the group as the film progresses. It is a star turn for Grillo, and viewers should expect to see him in many more memorable roles for years to come. Dermot Mulroney has some great moments throughout the film with Dallas Roberts and Joe Anderson also turning in great performances.

As you might have guessed by now, The Grey is much more intelligent than your typical thriller – and it’s a more effective film because of it. One of the main themes even deals with the idea of God versus the individual and how faith, or the lack thereof, is an asset or a disadvantage when you’re fighting to survive the elements and keep a fierce pack of rabid wolves from tearing you apart. In these circumstances is self-reliance hindered by faith? Will you fight as hard as you need to if you believe in a higher power that may intervene to save you? Looking at who dies and who survives, Carnahan and his co-screenwriter Ian MacKenzie Jeffers do well to answer that question as well as using it as the basis for Neeson’s most powerful moment in the film – a moment that is probably the essential scene in The Grey.

So, is it a thinking man’s monster movie? Carnahan himself says The Grey touches on the outskirts of horror, and the moments and sequences involving the wolves are certainly crafted with that in mind. Carnahan wants to scare you in these scenes, and the staging, direction, and design of the wolves by KNB (who else?) prove to be very effective. Seeing how KNB usually gets all the credit when they are involved on a film, it should be mentioned that the majority of the wolves are enhanced through CGI by the guys over at Digital Dimension; and they do great work here. The wolves look larger than life, and their wild eyes and mangled fur do well to show that this pack has never been touched by the throes of civilization, making our human characters that much more threatening and foreign to them. The pitch black design of the Alpha male wolf is the closest thing to an actual monster in The Grey, and the standoff between Ottway and the beast throughout the film culminates in a satisfying way, but probably not how you expect if you’ve seen the trailers.

The ending of The Grey reaffirms the point that it is not the typical survival movie: The sum of its parts and its emotional resonance is greater and more profound than a simple man versus nature tale. The result is a film that subverts expectations, becoming a great character piece that isn’t afraid to show real pain and internal agony below the surface of an action film. The Grey still provides some genuine thrills and scares, but it’s ultimately about how a harrowing situation can rekindle the desire and lust for life within a once broken man who was just about ready to throw in the towel.

Oh … be sure to stay after the credits for an extra scene!


3 1/2 out of 5

Discuss The Grey in the comments section below!

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AHS: Cult Review – Clowns, Cults, Politics, and Peters

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Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


** NO SPOILERS **

It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)
3.5

Summary

The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

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User Rating 4 (3 votes)
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The Axiom Review – A Stylish and Clever Slice of Independent Horror

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Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods


The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.

ADDITIONAL THOUGHTS:

  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom
4.0

Summary

In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

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User Rating 3.9 (10 votes)
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The Dollmaker Short Film Review – Welcome to Heebie Jeebie City!

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Starring Perri Lauren, Sean Meehan, Dan Berkey

Directed by Alan Lougher


The loss of a young child drives a mother to take a set of unusual measures to preserve his memory, and all it takes is one call to The Dollmaker.

When the short film by Alan Lougher opens up, we see a rather disturbing image of a little boy inside a casket, and the sound of a grieving mom speaking with an unidentified man in the background – he’s requesting something personal of the child to help “finish” his product, and it’s not before long that mom has her little boy back…well, kind of. What remains of the child is the representation of his former self, although it’s contained within the frame of a not-so-attractive doll, and the boy’s father isn’t a believer in this type of hocus-pocus (or the price to have this constructed, either). The doll comes with a specific set of instructions, but most importantly, you cannot spend more than one hour a day with the doll, or else you’ll go mad thinking that the soul inside of it is actually the person that you lost – sounds reasonable, doesn’t it?

Well this is just too good to be true for Mommy, and as the short film progresses, we’ll just have to wait and see what happens to her mind – it’s ultimately a depressing scenario, but Lougher gives it that creepy feel, almost like visiting a relative’s home and seeing their dearly departed pet stuffed and staring at you over the fireplace – HEEBIE-JEEBIE CITY, if you ask me. All in all, the quickie is gloomy, but ultimately chilling in nature, and is most definitely worth a watch, and if I might use a quote from one of my favorite films to apply to this subject matter: “Sometimes…dead is better.”

  • Film
3.5

Summary

Ultimately chilling in nature!

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User Rating 3.31 (16 votes)
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