fidelio7 Reviews

The Evil Dead (1981)

A wonderful combination of horror and humour

[6/10 · 19 March 2011]

'The Evil Dead' is a wonderful combination of horror and humour. Made on a shoestring budget, it is extremely entertaining and very fast-moving. Bruce Campbell is excellent as the put-upon hero who must do battle with some very nasty and resourceful zombies.

When five friends drive to a secluded cabin in the woods of Tennessee, they are looking forward to a fun weekend. But upon arriving at the aforementioned cabin, they discover a tape machine. When they play the tape, they hear a man reciting from the Book of the Dead. It is these recitations which awakens an unspeakable evil in the surrounding woods which possesses several of the group and transforms them into hideous, homicidal zombies. Pretty soon, Ashley 'Ash' J. Williams (Bruce Campbell) is the only one left who has not been transformed, and he must fight for his life.

This is a thrilling and imaginative horror classic whose camera-work - like that in Peter Jackson's first film, 'Bad Taste' - is really splendid and cleverly conceived. The special effects makeup is very impressive considering the limited budget, and the film's most notorious scene - in which a major female character is raped by a tree - is completely unexpected and very twisted.

That first-time director Sam Raimi should go on to such massive box office success with the 'Spider-Man' franchise is no surprise; you can feel a lot of fledgling talent at work when you watch 'The Evil Dead'. If you are a fan of horror, then this film, subtitled 'The Ultimate Experience in Gruelling Horror' is required viewing.

Dr. No (1962)

'That's a Smith and Wesson. And you've had your six.'

[8/10 · 2 March 2011]

'Dr. No' is one of my favourite Bond films. It is stylish and very spare, and introduces the best James Bond ever, Sean Connery. The storyline is lean and muscular, and focuses upon the reclusive and mysterious Dr. No, who is attempting to thwart the US space programme. It is up to Bond to stop him.

In his debut as Bond, Connery is suave and charming, but he is also cold and ruthless. He has what it takes to get the job done, and he takes no prisoners. He has some great lines in this film and really holds his own as an actor, creating an indelible impression as the British superspy.

Ursula Andress offers great support as the stunning and athletic Honeychile 'Honey' Ryder, and Joseph Wiseman has just the right amount of sophistication and danger to him. The story takes its time to unfold, and the pace is steady but never leaden. There are some great action set pieces: the car chase which culminates in a fiery demise for Bond's pursuer, Bond coming upon a tarantula in his bed, and - of course - the inevitable destruction of Dr. No's hideout.

Terence Young's direction is assured and he displays a very good eye for detail. Jack Lord, who played Detective Steve McGarrett in the long-running 'Hawaii Five-O' television series, is a welcome presence as Felix Leiter, who assists Bond on his mission to defeat the evil Dr. No.

'Dr. No' is one of the best Bond films, and it is fun to watch again and again. There is great sexual tension betwixt 'Honey' and Bond, and they work very well together. The film restoration process has worked wonders for first twenty Bond films, and it gives you a chance to watch the very first Bond film with lush colours and crisp, digitally remastered sound. No matter how many times you have seen this movie, the restoration process makes it seem as though you are viewing it for the first time. Do not miss your chance to see where it all began.

Dracula (1931)

'Listen to them. Children of the night. What music they make!'

[9/10 · 12 February 2011]

Based upon the novel by Bram Stoker, 'Dracula' tells the classic story of the titular Transylvanian Count, an ageless vampire who has existed for centuries. Seeking fresh blood, Count Dracula travels to England where he moves into Carfax Abbey and focuses his attentions upon an innocent young woman named Mina. He transforms a man named Renfield (Dwight Frye) into a raving lunatic who acts as Dracula's slave and who lives upon a steady diet of flies and spiders. Dwight Frye is a real scene stealer in this film; he is so charismatic that Alice Cooper even wrote a song about him (1971's 'Ballad of Dwight Frye')!

Director Tod Browning and Karl Freund (an uncredited co-director) have crafted a wonderfully creepy Gothic horror film. Although I am not sure why the Count would have armadilloes roaming his dusty and cobweb-riddled castle! As Dracula, Bela Lugosi is splendid; he manages to be both creepy and elegant at the same time. The film is atmospheric and very detailed, and richly rewards multiple viewings. You will want to come back to this one again and again. Also, if you like Tod Browning's work, then his disturbing, uncompromising, and very controversial 'Freaks' is highly recommended.

The Forgotten (1973)

Awful, awful, awful

[1/10 · 9 February 2011]

'Death Ward #13' AKA 'Don't Look in the Basement' AKA 'The Forgotten' is an excruciating 'Don't' horror film from 1973. It was released around the same time as 'Don't Answer the Phone', 'Don't Go in the House', and 'Don't Open the Window' (AKA 'Let Sleeping Corpses Lie' AKA 'The Living Dead at the Manchester Morgue'). The only thing that is cool about it is the fact that it inspired a scene in 'The Rocky Horror Picture Show' two years later. Early in 'The Rocky Horror Picture Show' Janet Weiss (Susan Sarandon) approaches a big, creepy house with a newspaper over her head to protect against the falling rain. This was taken from the opening credits sequence of 'Basement', in which a young nurse walks towards her new place of employment - an insane asylum - with a newspaper held over her head as a makeshift umbrella.

'Basement' is tedious and feels like it goes on forever. Sure, it may be a drive-in classic, and viewed in that environment it would no doubt be most enjoyable. But viewed at home on DVD it is just awful. The good news is that it does finally - in the third act - deliver in terms of gore.

I was quite shocked to find that 'Don't Look in the Basement' is being remade. It was bad enough the first time around! But maybe the remake will inject some life into this damp squid of a horror film. 'Don't Open the Window' is a much better 'Don't' horror film, and definitely much nastier.

Donnie Darko (2001)

An instant cult classic

[7/10 · 8 February 2011]

'Donnie Darko' is a deeply complex time travel mystery which will confound and intrigue viewers. It rewards multiple viewings and is ingeniously intricate. Jake Gyllenhaal stars as the titular character, a medicated youth who is suffering delusions. Or is he? Jake, a sleepwalker, is visited by the bizarre vision of a man in a bunny suit. The 'bunny' advises him that the world will end soon. I was expecting the 'bunny' to be a comic figure, but it is actually genuinely frightening.

The great thing about 'Donnie Darko' is that everyone has their own take on the film, and an attendant explanation for the strange goings-on of the narrative. This is a challenging and unusual film which requires a high level of concentration. Who knew that Jake Gyllenhaal and Maggie Gyllenhaal, who plays Donnie's sister, Elizabeth, would go on to become A list stars? As another reviewer observed, you will either love or hate 'Donnie Darko'. It does not give up its secrets easily, and requires work on the part of the viewer. The soundtrack is wonderful, featuring such artists as The Church ('Under the Milky Way'), Echo and the Bunnymen (appropriate!) ('The Killing Moon'), Joy Division ('Love Will Tear Us Apart'), and Gary Jules ('Mad World', originally a hit for British popsters Tears For Fears). The film is set in 1988 and features great period detail.

Personally, I much prefer the theatrical version to the Director's Cut. Ironically, the Director's Cut was meant to explain things that were not clear in the theatrical version. I found it even more confusing! 'Donnie Darko' embraces a strange and troubled character. The hero of the film is not some Hollywood cliché, but a possibly delusional young man who is witty and immediately likable. A great performance from Jake, as usual. If you are looking for something superficial and easy to follow, then you have come to the wrong place! But if you are willing to concentrate and take a strange, unpredictable journey, you will definitely be rewarded.

Dead Man (1995)

Sometimes it is preferable not to travel with a dead man

[8/10 · 5 February 2011]

'Dead Man' is a vivid, haunting Western which will either infuriate and bore or amaze and dazzle. Its pace is very measured, opening with a lengthy sequence set on a train which shows mild-mannered Cleveland accountant William Blake (Johnny Depp) taking a VERY long train journey. He slips in and out of sleep and encounters a cryptically philosophical and very sooty Train Fireman (Crispin Glover) before finally arriving at the frontier town of Machine.

Alighting from the train, Blake heads towards his new job as accountant at a foundry. As he is walking apprehensively through town, he sees a man in an alley being fellated by a woman. The man points his gun at Blake, who quickly lowers his gaze and walks on hurriedly. This single shot of simulated oral sex was hugely controversial and almost resulted in the film being banned. Fortunately it was not.

Arriving at the town, Blake finds that his position has already been filled. He demands to see the boss, John Dickinson (Robert Mitchum), a fearsome man who embodies the shoot-first-ask-questions-later savagery of the Old West. Dickinson trains a shotgun on the hapless Blake and tells him to get the hell out of his sight. Wisely, Blake hightails it out of there, with the cruel laughter of John Scholfield (John Hurt) - one of the foundry's employees - ringing in his ears.

Crestfallen and almost broke, Blake stumbles into the town's salon to drown his sorrows. He meets Thel Russell (Mili Avital) who is eking out a living selling paper flowers. She takes Blake to her bed, where they are discovered by Charlie Dickinson (Gabriel Byrne), Thel's former lover. Charlie takes great exception to Blake's presence and tries to shoot him, but hits Thel instead, who is killed. Charlie shoots again, inflicting a mortal wound upon Blake which will eventually kill him. Blake shoots Charlie dead and goes on the run into the wilderness.

For Blake, the hand of fate just keeps dealing him bad cards. Charlie is the son of the shotgun-toting, cigar-chomping John Dickinson, and John - furious at the loss of his beloved son - hires three killers to find and dispatch Blake. These guns for hire are the taciturn Cole Wilson (Lance Henriksen), the loquacious Conway Twill (Michael Wincott), and Johnny 'the Kid' Pickett (Eugene Byrd), and they set out on Blake's trail with murder on their minds.

Blake meets a husky Indian named Nobody (Gary Farmer) and the two become travelling companions. Blake embarks upon a deeply spiritual and mystical journey with Nobody as his spirit guide. Nobody oversees Blake's transition from the physical world of life, to the spirit world of death.

This is a wonderful film with a cast to die for. In addition to all the names already mentioned, there are also appearances by Iggy Pop, Billy Bob Thornton, and Alfred Molina. 'Dead Man' is a really unusual Western which benefits greatly from its being shot in black-and-white. Johnny Depp never disappoints... highly recommended.

Die Screaming Marianne (1971)

Die Yawning, Marianne

[1/10 · 2 February 2011]

It is hard to believe that 'Die Screaming, Marianne', a boring and uninspired 'shocker', was directed by British horror master Pete Walker, who would go on to make the wonderful 'Frightmare'. Admittedly this was his first film and he needed time to refine his art, but 'Marianne' has little if anything to recommend it. It is very like the Italian 'giallo' films which were popular back in the early seventies, and hardly deserves to be called a horror film.

Susan George stars as Marianne McDonald/Evans and, to her credit, plays a strong and resourceful character. Her evil father, a corrupt judge played by Leo Genn, and her power-hungry and avaricious stepsister, are out to get their hands on Marianne's fortune - a hefty amount left to her by her rich mother - which she is to inherit on her twenty-first birthday.

'Die Screaming, Marianne' belongs to the family of horror films whose titles promise much and then do not deliver the titular carnage. Such films as 'Driller Killer' and 'The Texas Chain Saw Massacre'. 'Driller Killer' is an interesting psychological horror film which owes much to 'Repulsion' and it certainly has its merits, but its reputation as a notorious video nasty is just silly considering the very tame gore in the film. And 'Texas' is a horror masterpiece but it definitely does not offer up a constant stream of blood and severed limbs as its title suggests.

Susan George completists will want to see 'Die Screaming, Marianne' but anyone else will find the proceedings tedious and instantly forgettable. There is a good title song which has a nice melancholy feel to it, and there is a cool opening credits sequence which sees George go-go dancing in a black bikini. But the rest of the film - apart from the rather attractive scenery in the scenes shot in Portugal - is almost excruciatingly dull and pointless. Do yourself a favour, and catch Susan in the horror film 'Fright' instead. So much better.

Live Free or Die Hard (2007)

'That's gonna wake the neighbours'

[6/10 · 19 January 2011]

I must admit to being pretty worried when I found out that Len Wiseman was directing 'Die Hard 4.0' AKA 'Live Free or Die Hard'. His all-style-no-substance 'Underworld' films were awful; very flashy yet totally empty. So I came to the fourth 'Die Hard' installment with quite a bit of trepidation.

I need not have been concerned, because 'Die Hard 4.0' is a solid piece of action entertainment which really delivers the goods. It is thrilling, funny, and offers action set pieces which are truly breathtaking. Witness the scene involving the four-wheel drive and the elevator shaft, in which the seemingly indestructible Detective John McClane (Bruce Willis) does battle with the deadly Mai Linh (Maggie Q... great name, by the way!). A brilliant and innovative way to stage what might otherwise have been a very ordinary fight sequence. And then there is my favourite bit, in which McClane, at the wheel of Thomas Gabriel's (Timothy Olyphant) mobile command centre - a massive eighteen-wheeler - goes up against a heavily armed F14 fighter jet. A huge chunk of freeway is completely destroyed in the ensuing mayhem. Classic! Bruce Willis' performance is perfectly measured as usual, and his John McClane is always humble and never smug. Justin Long offers good support as computer whiz kid Matt Farrell, and Mary Elizabeth Winstead proves a tough cookie as Lucy Gennaro McClane, John's daughter. Comic relief is provided by the always likable Kevin Smith, who plays computer geek Freddy 'Warlock' Kaludis.

This is the first PG-13 'Die Hard' but it never feels neutered or watered down. There are some tough fight sequences but hardly any coarse language. And you certainly do not sit there thinking, 'Man, I wish they would swear more!'.

'Die Hard 4.0' deserves its rightful place in the 'Die Hard' pantheon. It is a real crowd pleaser and the new director proves that he can deliver a thoroughly entertaining summer blockbuster. Thanks to Wiseman, the 'Die Hard' franchise is very much alive and well, and can still kick some major ass.

Die Hard (1988)

The best action film ever made

[8/10 · 4 January 2011]

Based on Roderick Thorp's novel 'Nothing Lasts Forever', 'Die Hard' is about an ordinary New York cop named John McClane (Bruce Willis) who goes up against a group of terrorists who have taken over an office building on Christmas Eve and are holding a group of office workers hostage, one of whom is John's wife Holly (Bonnie Bedelia).

It is strange when you think that 'Die Hard' is actually a splatter film - witness the gruesome, closeup bullet hits in the 'Shoot the glass' sequence, and the very nasty scene which follows in which McClane nurses his bloody feet which are torn up when he is forced to run across a floor covered with broken glass.

One of the reasons 'Die Hard' is so good is that its central character is not a Superman but an everyman. He is clearly flawed, as his frosty relationship with his wife demonstrates. But he is very a likable man who always has a witty quip - often a quite profane one - with which to take the bad guys down a peg or two. Like Matt Damon's Jason Bourne, McClane is far from invincible, and by the end of the film he is seriously injured and covered in blood.

But the real ace up 'Die Hard''s sleeve is Alan Rickman's wonderful performance as the deadly and silky smooth Hans Gruber. Gruber is as sophisticated as he is merciless, and his charisma is nicely juxtaposed against his ruthlessness. He is a nice opposite number for McClane - while Gruber gets about in a natty designer suit, McClane wears a white wife beater which becomes rapidly discoloured when he is forced to crawl through an airconditioning duct.

Reginald Veljohnson offers excellent support as a Twinkie-loving cop who becomes McClane's only link to the outside world. And Bonnie Bedelia is great as John's estranged wife. Rather than a token damsel-in-distress, she is a successful and intelligent woman who is unafraid and unimpressed by Gruber and his team of terrorists. When Gruber asks her, 'What idiot put you in charge?' she rejoins, 'You did. When you murdered my boss'. Also great is Hart Bochner as the coke-snorting Harry Ellis who fancies Holly and who makes the fatal mistake of attempting to strike a deal with Hans. He too has some fun lines, like 'Hans, booby, what am I, a method actor? Put the gun away; this is radio, not television'.

Once the action kicks off, it never lets up, and it climaxes with John leaping from the roof of the Nakatomi Plaza - where the action of the film takes place - just before said roof explodes in a spectacular and wholly satisfying fireball. This film is action heaven for fans of the genre, but the thrills are countered and complimented by an intelligent and very clever script by Jeb Stuart and Steven E. DeSouza. The Director of Photography was Jan DeBont who would go on to direct another action classic, 'Speed'.

And the public's appetite for the 'Die Hard' franchise just seems to increase, with each film in the series grossing more than its predecessor. 'Die Hard' has been much imitated since its release in 1988, but so far remains unsurpassed.

The Departed (2006)

'Someone had to die. With me it tends to be the other guy'

[8/10 · 1 January 2011]

'The Departed' is an excellent film. Director Martin Scorsese, who won the Best Director Academy Award for this movie, has assembled an incredible ensemble cast headed by Leonardo DiCaprio, Matt Damon, and Jack Nicholson. I can not praise DiCaprio's work enough; as an actor he just gets better and better. It seems that he has become Scorsese's latest muse, a role filled in past years by Robert De Niro. Everyone acts up a storm, actually, and Vera Farmiga is especially good as Madolyn, who forms a bizarre love triangle with Billy Costigan (Leonardo DiCaprio) and Colin Sullivan (Matt Damon).

Billy Costigan is an ambitious young Boston cop who goes undercover in order to infiltrate a criminal fraternity headed by the charismatic and philosophical Frank Costello (Jack Nicholson). At the same time, Frank has a mole working for him inside the Boston Police Department in the person of Colin Sullivan. Colin tips off Costello whenever the latter is about to be busted, allowing Frank to stay one step ahead of the cops. So Billy must uncover Colin's identity while Colin is trying to uncover Billy's. Cue a breathless and mesmerizing flick, filled with intrigue and numerous close calls.

First rate support is offered by Ray Winstone as Mr. French, Costello's right hand man. Winstone does not even have to open his mouth - his physical presence is intimidating enough as it is. And Mark Wahlberg (as the profane Staff Sgt. Dignam), Martin Sheen (Cpt. Queenan), and Alec Baldwin (Capt. Ellerby) round out the cast, while it is great to see Anthony Anderson in a serious role as Brown. Anderson proves here that he can do more than just comedy.

Nicholson is great as always, and he is pretty frightening and totally believable as the crime overlord. This is another triumph for Scorsese and, while it is perhaps not quite up to the standard of 'Goodfellas', it is still highly recommended viewing.

Demons of the Mind (1972)

My least favourite Hammer film

[3/10 · 29 December 2010]

I have tried time and again to like 'Demons of the Mind' but to no avail; I just can not get into it. I own a copy as a double feature DVD, partnered with 'Fright' - starring Susan George - which is so much better. 'Demons' is murky and dull, even though there are some great English actors in it, such as Michael Hordern and Patrick Troughton.

The themes of the film are incest, madness, and familial curses - the sins of the father being visited upon the son. That sort of thing. These themes are all mixed together and the resulting brew is tedious and unrewarding. For a Hammer film, it is surprisingly violent; there is plenty of the red, red kroovy. My favourite part is probably the bit which sees a coven of young witches chanting 'We came up from the fires of Hell/All is well, all is well'. This is easily the most chilling part of the film; that ungodly refrain really stays with you.

Paul Jones, the singer from Manfred Mann, stars as Carl Richter. Also featured in the cast is Patrick Magee as Falkenberg. Hammer films are meant to be cheesy fun - over-the-top and entertaining. But 'Demons of the Mind' just kind of meanders along without really going anywhere. It commits the sin of being boring, and that is a hard sin to forgive. Hammer at its peak is 'Hands of the Ripper' and 'Twins of Evil'. 'Demons of the Mind' is, sadly, Hammer at its nadir.

The Dark Knight (2008)

'If you're good at something, never do it for free'

[9/10 · 29 December 2010]

'The Dark Knight' is a dazzling epic filled with excellent performances and incredible action sequences. It is a triumph on pretty much every front and, while perhaps it does not quite reach the dizzy heights of director Christopher Nolan's more recent 'Inception', it still packs a mighty punch.

Christian Bale reprises his role of billionaire industrialist Bruce Wayne whose alter-ego, the superhero Batman, is the 'dark knight' of the film's title. Bale really captures the torment of Wayne; he is still clearly haunted by the cold and heartless murder of his parents all those years ago. And it is a real treat to see Eric Roberts as a slimy crime boss named Salvatore Maroni. But the real scene stealer here is the late Heath Ledger as The Joker. Ledger plays him as an unpredictable and dangerous psychopath and never overdoes it or chews the scenery for a second. The other actors - as good as they are - do not stand a chance when Ledger is on screen; he steals every scene that he is in.

The film features a spectacular car chase in which an eighteen-wheel rig is flipped right over lengthwise, and Nolan has assembled a dream cast which includes Maggie Gyllenhaal as Bruce's love interest Rachel Dawes, and Aaron Eckhart as Harvey Dent. This reboot of the 'Batman' franchise which began with 'Batman Begins', also directed by Nolan, is a resounding success. There is darkness but there is also light, as the result of the ferry standoff in the film's third act demonstrates. 'The Dark Knight' is a brilliant and well-constructed film which just keeps on getting it right.