Directed by Mick Garris
Teleplay by Stephen King
Distributed by Lionsgate
I think I’m developing a reputation among the staff here at DC as “the Stephen King girl.” I am a huge fan and have grown used to the teasing over the years about how devout I am. So, when our beloved Uncle Creepy said, “Here, I’ve got the Desperation DVD…you review it,” I greeted it the way I do every King adaptation…I begged and pleaded not to have to watch it. Alas, slave driver that he is, the Creepster said I would not get my monthly allotment of corpses to play with if I didn’t do the review. So here I am!
When ABC aired Desperation several months ago, I caught about thirty minutes of it, in the middle, and then went the bed, content I was missing yet another botched TV translation. Reports from several people afterwards backed me up, so I went into this viewing with a “grin and bear it” attitude. Maybe it was that, or the fact that I hadn’t read the book since high school (I’ve found that the amount of time it’s been since my last reading of the source material directly affects my enjoyment of an adaptation), or that I was a little more partial to The Regulators, but I have to say…I didn’t hate it.
Now don’t get me wrong; I am not here to sing the praises of this adaptation. It did not get it all right. They never seem to, and I’ve decided they never will until Stephen King wises up and hires me to oversee all projects being adapted from his works. Are you reading this, Mr. King? It’s really the best for all involved. Trust me.
But back to the matter at hand…
First off, a couple of warnings that are very, very important. One, if you are easily put off or offended by religious things, this is NOT the movie for you. There is a lot of God stuff. Really, it’s all about God stuff. God is one of the main characters, if you will. That’s basically the whole story right there. It’s Good versus Evil; all the rest is just the hows and wheres. Very much like The Stand in that way, only a lot heavier on the God stuff. Second of all, this movie is best watched with all the lights off. Not that it makes it more scary or anything, but for some reason, it just makes it look better. I tried turning the lights on, and it didn’t look right…I’m not sure why. Just trust me on this one.
Okay then, now that we’ve got that all out of the way…Desperation is a small mining town in Nevada where some very bad things are happening. The local mining company recently reopened a mineshaft that was closed in a cave-in in the 1800’s, killing many Chinese workers, and released an ancient evil that has taken over the town. This evil spirit, named Tak, can control all kinds of nasties and creepy crawlies – snakes, spiders, scorpions, wolves, buzzards – and has possessed a local cop named Collie Entragian (played superbly over-the-top and creepy by the wonderful Ron Perlman). Collie, after killing lots of people in town, takes to the local highway and begins to waylay travelers and bring them back to town.
We meet most of our core group of characters in Desperation’s jail. They consist of Tom Billingsly (Charles Durning), Mary Jackson (Annabeth Gish, in dire need of some sandwiches), Johnny Marinville (Tom Skerritt), and the Carvers, Ralph (Matt Frewer), Ellen (Sylva Kelegian), and their twelve-year-old son, David (Shane Haboucha). Here is where we get the first inklings that Collie is more than just crazy and David is more than just a boy. Most of this opening sequence, the introduction of Mary and Peter Jackson (a wonderful but brief role played by Henry Thomas), and the first appearance of Collie Entragian are really very brilliantly done. Veteran King helmer Mick Garris’ surreal style and too bright color palette have often been an issue in past adaptations but suit this one to a “t.” In the opening he nails everything from camera angles to sound effects. It gave me a lot of hope.
As the story progresses, it – perhaps predictably – begins to stumble. David’s revelation of his friend’s accident and his promise to God are handled ham-fistedly both in the writing and the filming. Another huge problem presents itself with the introduction of Steve Ames and his hitchhiking gal pal, Cynthia Smith. Garris has once again cast Steven Weber in a King piece, in the roll of Ames, which I don’t mind at all. He was both charming in his portrayal of the down-to-earth roadie and mouth-wateringly delicious looking. My problem is with the casting of Kelly Overton as Cynthia Smith. Overton’s only claims to fame are the hopelessly befuddled Breaking Dawn with Angelina Jolie’s surprisingly pretty talented brother, James Haven, and abysmal The Ring Two, which I’ve blocked from my memory.
Now, this is most likely just because I’m a rabid King fan and I’m being nitpicky, but hey, that’s sort of my job. Most of the rest of you wouldn’t know this. But Desperation is not the only King book Cynthia pops up in. And I’m not just talking about The Regulators, which most of the characters in Desperation appear in as well. Cynthia shows up in one of my all-time favorite King books ever, Rose Madder. And Cynthia is a kickass chick. She’s kind of a punk rocker with short and spiky two-tone hair (orange and green), skinny as a boy, and missing the top part of her ear. It got bit off in a fight with a mean ex-boyfriend. See, now this is the thing; she’s cute, pixie-like, but not what you’d call a babe. And she’s a scrapper. She survived the abusive asshole who tried to take her ear. She survived getting beaten on by Norman in Rose Madder…and Norman is HUGE. Hell, the guy turns into a Minotaur later on! But here in Mick Garris’ Desperation she’s a “beautiful young woman” with cherry red hair and big boobs who screams…a lot. There’s one sequence while she and Steve are looking for a phone where she literally screams about six times in a row. And she whimpers. And clings to Steve Ames a lot, too. The times where Cynthia’s quirky dialogue remains intact, Overton delivers it in a simper. This is NOT Cynthia.
If it was King himself who made these changes, then shame on him. But I don’t see it. He writes strong and believable female characters, and Mary Jackson and Ellen Carver are proof of that. And it pisses me off that no one can look interesting anymore; everyone has to be a model. Surprisingly, though, this is one of few deviations from the book. I went back and scanned through it to check since it had been so long. Unfortunately, the changes that were made, whether they were made my King or Garris, ended up not helping the story at all. I don’t understand most of these changes. Losing Audrie Wyler’s character? Okay, it didn’t really hurt the story not to have her in it. But the rest of them are really lost on me, as usual. And strangely enough, though they’re few and far between, the changes that are made – like Johnny’s mind-changing revelation at the end – are pretty big ones.
They were so close. That’s the real tragedy here. I can tell you almost exactly what they changed, and it’s very little. David’s friend Brian was alone when he had his bike accident; David was not with him. David made his promise to God in a hospital room, not on the road. They cut some stuff out, mostly for time’s sake and mostly stuff that wasn’t missed, like Audrie Wyler (a local geologist who gets possessed by Tak and tries to kill David, but not until she tells them how to blow up the mine). They changed the story of the mine cave-in. Here was another big stumble and a change I just do not get. In the book Billingsly doesn’t try and sell a story about happy Chinese miners and an accidental cave-in. He tells a story about exploited Chinese men forced to work and left to die after an accidental cave-in. And when David learns the truth, it’s not that the miners found Tak’s well and brought the mine down on themselves with only two barely escaping to be hanged as responsible, it’s that two miners caused the collapse to trap the others underground because they had been driven insane. Perhaps the original story was too brutal for ABC. The biggest cop-out change was Johnny’s Vietnam experience. In the book there was no bar bathroom bomb, no prior experience with Tak. Johnny had nothing to redeem, aside from being a Class A asshole.
But that’s it. As King adaptations go, this one hugged the straight and narrow pretty well when it comes to the source material. King did a fair job of adapting his own work, though why in hell he made some of those changes, I’d really like to know. Especially the Johnny one. That just felt like it was done to appease an audience where everything has to be pat, like so many are these days. Garris does, at least in the beginning, a pretty adept job of directing though at the end things really feel like they are falling apart, and he just completely loses you. It’s sad because until that point I was enjoying it, despite the God stuff. Or maybe because of it. Being pagan, I find it very interesting to read a story like this where one of the principal characters is a Christian God. There are not many stories nowadays that portray God at all, aside from straight-up Christian literature, and even fewer horror stories that do so. And King’s take on God is an interesting one, to say the least. David is a young boy, just learning about his faith, really just coming into a realization of what God and belief are, and to be with him on this particular trip with the issues it raises provides quite a bit of food for thought – not to mention some intense conversation starters.
As for the DVD itself, it’s pretty spare on extras. Unless you’re a rabid Stephen King fan, it’s not going to float your boat, and even if you are, it’s pretty slim pickings. It contains a brief interview with Mick Garris and Stephen King on the timeline and process of adapting Desperation entitled “Postcards From Bangor ME.” There’s also an audio commentary with Mick Garris, Ron Perlman, and producer Mark Sennet. Mick is actually pretty amusing most of the time and imparts some interesting information. Perlman seems almost uncomfortable and in fact states he doesn’t like watching himself act, but Garris draws him out and manages to keep the conversation flowing nicely. At some point producer Sennet wanders into the room, and Garris ropes him in as well, although he doesn’t add much to the mix. Perlman takes his leave roughly an hour into the film, about the same time his character Entragian does. Sennet leaves, too, and then we’re just left with Mick. It’s not so bad really; he valiantly keeps up a pretty steady stream of interesting chatter. Although at times certain things become clear; for instance, I don’t think he’s read many Stephen King books (he makes a statement that King doesn’t write much eroticism, which really isn’t true; King doesn’t get freaky all the time, but it’s there a good bit). However, listening to the commentary, I learned that a lot of what I thought was wrong with the film, Garris felt rushed filming or felt didn’t come out right, which at least makes me feel a little better. Aside from the commentary and the interview, all you get are some Lionsgate trailers.
So that’s all, folks…not one of the worst adaptations by far. The acting is (mostly) not bad. Except for Kelly Overton, who should be roasted on a spit and fed to a real actress. The writing fell down a lot at the end, but it wasn’t unforgivable. And Garris did a passable job. I, surprisingly, actually kind of liked it, up until the end there. I wouldn’t say rush out and buy it, but if you’re a King fan, it’s definitely worth picking out of the bargain bin at your local video store, if only for the conversations you can have afterwards (or, if you’re me, to drool over Steven Weber).
Audio commentary with director Mick Garris, actor Ron Perlman, and producer Mark Sennet
Interview with Stephen King and Mick Garris
3 out of 5
Desolation Review – The Joy of Being Rescued and All the Surprises That Come With It
Starring Raymond J. Barry, Brock Kelly, Dominik Garcia-Lorido
Directed by David Moscow
It’s those random, once-in-a-lifetime encounters that only a select few get the chance to experience: when we as regular participants in this wonderful thing known as The Rat Race, stumble across a soul that we’ve only witnessed on the big screen. I’m talking about a celebrity encounter, and while some of the masses will chalk the experience up as nothing more than a passing moment, others hold it to a much larger interior scale…then you REALLY get to know the person, and that’s when things get interesting.
Director David Moscow’s thriller, Desolation follows shy hotel employee Katie (Lorido) and her “fortuitous” brush with Hollywood pretty-boy Jay (Kelly) during one of his stops – the two hit it off, and together they begin a sort of whirlwind-romance that takes her away from her job and drops her in the heart of Los Angeles at the apartment building he resides in. You can clearly see that she has been a woman who’s suffered some emotional trauma in her past, and this golden boy just happens to gallop in on his steed and sweep her off of her feet, essentially rescuing her from a life of mundane activity. She gets the full-blown treatment: a revamped wardrobe, plenty of lovin’, and generally the life she’s wanted for some time.
Things return to a bit of normalcy when Jay has to return to work, leaving Katie to spread out at his place, but something clearly isn’t kosher with this joint. With its odd inhabitants (a very creepy priest played by Raymond J. Barry), even more bizarre occurrences, and when one scared young woman cannot even rely on the protection from the local police, it all adds up to a series of red flags that would have even the strongest of psyches crying for their mothers. What Moscow does with this movie is give it just enough swerves so that it keeps your skull churning, but doesn’t overdo its potential to conclusively surprise you, and that’s what makes the film an entertaining watch.
While Lorido more than holds her ground with her portrayal of a woman who has been hurt in the past, and is attempting to place her faith in a new relationship, it’s Barry that comes out on top here. His performance as Father Bill is the kind of stuff that wouldn’t exactly chill you to the bone, but he’s definitely not a man of the cloth that you’d want to be stuck behind closed doors with – generally unsettling. As I mentioned earlier, the plot twists are well-placed, and keep things fresh just when you think you’ve got your junior private investigator badge all shined up. Desolation is well-worth a look, and really has kicked off 2018 in a promising fashion – let’s see what the other 11 months will feed us beasts.
Got your eye on that shining movie star or starlet? Better make sure it’s what you really want in life – you know what they say about curiosity.
Wolf Guy Blu-ray Review – Sonny Chiba As A Werewolf Cop In ’70s Japan
Starring Sonny Chiba, Etsuko Nami, Kyosuke Machida
Directed by Kazuhiko Yamaguchi
Distributed by Arrow Video
As virtually every American adaptation has proven, translating manga to the big screen is a job best left to Japanese filmmakers. There is an inherent weirdness – for lack of a better term – to their cultural media that should be kept “in house” if there is to be any hope for success. Ironically, the stories are often so fantastical and wildly creative that a big American studio budget would be necessary to fully realize such a live-action vision. But I digress. Back in 1975, Toei Studios (home of Gamera) adapted the 1970 manga series Wolf Guy into a feature of the same name. Starring the legendary Shin’ichi Chiba (a.k.a. Sonny Chiba), who at that time was in his prime, the film combines elements of crime and psychedelic cinema, delivering less of a werewolf film (despite the title suggesting otherwise) and more of a boilerplate crime caper with a cop who has a few tricks up his hairy sleeve. I should stress it is the story that plays fairly straightforward, while the film itself is a wild kaleidoscope of strange characters and confounding situations… mostly.
An unseen killer, known only as “The Tiger”, prowls the streets at night slashing victims to death and leaving behind no trace. Beat cop Akira Inugami (Sonny Chiba) is on the case, and he has an advantage over his fellow brothers in blue: being a werewolf. As the opening credits flashback shows, Akira is the sole survivor of the Inugami clan of werewolves after a slaughter wiped out the rest of his kind. Now, as the last of his brethren, he uses his acute lycanthropic skills, under the auspices of the moon, to track down underworld thugs and solve cases uniquely tailored to his abilities. As the lunar cycle of the moon sees it growing fuller Akira’s powers, too, increase to superhuman levels.
Searching for this mysterious “Tiger”, Akira is led into a subterranean world of clandestine government organizations, nightclub antics, and corrupt politicians. One night, Akira is attacked and taken prisoner by a government research lab that wants to use his blood to create werewolves they can control. Only problem is – which they don’t realize – Akira’s blood cannot be mixed with that of a human; the only end result is death. Miki (Etsuko Nami), a drug user with syphilis, comes to Akira’s aid and proves to be quite useful. She holds a secret that has the potential to vastly change Akira’s world but, first, a showdown with the criminal underbelly looms on the horizon… as does the fifteenth day of the Lunar Cycle, when Akira will be made nearly invincible.
First, some bad news: Sonny Chiba never attains full werewolf status. This is not that movie. Sure, he growls and snarls and sneers and possesses many of the traits of a werewolf but in terms of physical characteristics he more or less remains “human” the entire time. Yes, even during “Lunar Cycle Day 15”, a.k.a. the moment every viewer is waiting for, to see him turn into a wolf. Instead, he just winds up kicking a lot of ass and taking very little damage. To be fair, a grizzled Sonny Chiba is still enough of a formidable presence, but, man, to see him decked out as a full-on kung-fu fighting werewolf would’ve been badass. The film could have done better at tempering expectations because it builds up “Day 15” like viewers are going to see an explosion of fur and flesh, instead it’s just plenty of the latter. Aw, well.
Lack of werewolf-ing aside, the film plays out a bit uneven. The opening offers up a strong start, with The Tiger attack, wily underworld characters being introduced, and a tripped-out acid garage rock soundtrack (which I’d kill for a copy of). But Second Act Lag is a real thing here and many of the elements that may have piqued viewer curiosity in the first act are scuttled, and although the third act and climax bring forth fresh action and a solution to the mystery it also feels a bit restrained. Then again, this is Toei, often seen as a cheaper Toho. Wolf Guy serves as a good introduction to Akira Inugami and his way of life, which makes it a greater shame no sequels were produced.
Presented with a 2.35:1 1080p image, Wolf Guy hits Blu-ray with a master supplied by Toei, meaning Arrow did no restorative work of their own on the picture – and it shows. Japanese film elements, especially those of older films, are often notorious for being poorly housed and feebly restored. This transfer is emblematic of those issues, with hazy black levels, average-to-poor definition, minimal shadow detail, and film grain that gets awfully noisy at times. The best compliment I can give is daylight close-up scenes exhibit a pleasing level of fine detail, though nothing too eye-popping. This is a decidedly mediocre transfer across the board.
The score fares a bit better, not because the Japanese LPCM 1.0 mono mix is a beast but because the soundtrack is so wildly kinetic, exploding with wild garage rock and fuzzy riffs right from the get-go. Dialogue has a slight hiss on the letter “s” but is otherwise nicely balanced within the mix. Subtitles are available in English.
“Kazuhiko Yamaguchi: Movies with Guts” is a September 2016 sit-down with the film’s director, who reflects on his career and working with an icon like Sonny Chiba.
“Toru Yoshida: B-Movie Master” is an interview with Yoshida, a former producer at Toei who oversaw this film and many others.
“Sonny Chiba: A Life in Action, Vol. 1” covers the man’s career up to a point, with the remainder finished on Arrow’s other 2017 Chiba release, Doberman Cop.
A theatrical trailer is also included, as is a DVD copy of the feature.
- Kazuhiko Yamaguchi: Movies with Guts
- Toru Yoshida: B-Movie Master
- Sonny Chiba: A Life in Action, Vol. 1
- Theatrical trailer
While the film might be a bit of a letdown given what is suggested, fans of bizarre Japanese ’70s cinema – and certainly fans of Chiba’s work – should, at the least, have fun with this title.
Inside (Remake) Review – Is It as Brutal as the Original?
Starring Rachel Nichols Laura Harring
Directed by Miguel Ángel Vivas
While the directing duo of the cringe-inducing and original 2007 French grand guignol thriller Inside have gone on to refurbishments of their own—Julien Maury and Alexandre Bustillo recently helmed a retread of Leatherface’s origin story—their flick now has an American stamp on it with the release of the remake, also titled Inside.
A cheerless Christmas eve sets the stage for heavily-pregnant widow Sarah’s (Rachel Nichols) oncoming ordeal. It’s a frigid and snowy night. She’s got a huge house to herself, following the accidental and violent death of her husband. She wants to sell the home that was meant to hold a family, to forget the nascent memories it once held. But she’s got to ride it out until the baby is born. While Sarah is lonesome, she won’t be alone. She’s got her genial gay neighbor nearby, and her mum is going to come and stay with her for a few days. Oh, and there will be an unexpected visitor too.
When a shadowy, seemingly stranded stranger (Laura Harring) knocks on the door pleading to be let inside, Sarah instinctively balks. She even calls the cops. But the woman leaves and all seems well. Crisis averted. Sarah puts the housekeys in the mailbox outside for Mom, and goes to bed. Big mistake.
Mystery Lady shows up at Sarah’s bedside armed with chloroform, an IV bag, and a case full of sharp-and-pointies (sorry, ’07 fans… those implements do not include a pair of scissors). The horror unfolds and the expected yet lively game of gory cat-and-mouse ensues. Then the tete-a-tete becomes a body-count chiller featuring one shocking moment after another.
Nichols is fantastic in the role, giving it her all. When the original Inside came out eleven years ago, she was starring in another French-helmed horror, P2—also set on Christmas eve—and she stole the show. She does the same here but with a less-intense adversary. Harring’s killer character, unlike her European counterpart, has a lot to say—which takes away from her initially mysterious manner as the minutes tick off. Still, the girl-on-girl action is a welcome change from the usual gender dynamic one sees in these things. Both deserve kudos for their performances.
While Inside isn’t a died-in-the-wool “Hollywood” remake (Miguel Ángel Vivas directs, while [REC] co-creator Jaume Balagueró wrote it) it feels like one. For those who’ve seen the original, there will be mild disappointment (which turns to major letdown at the very end). However, Inside is still a serviceable thriller that’s well-acted, beautifully shot, and effectively scored. Folks coming in fresh, and casual horror fans, will more than likely enjoy it.
Inside is a serviceable thriller that’s well-acted, beautifully shot, and effectively scored. Folks coming in fresh, and casual horror fans, will more than likely enjoy it. For those who’ve seen the original, there will be mild disappointment (which turns to major letdown at the very end).
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