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What?

A lethal virus spreads throughout a major country and kills hundreds of thousands. To contain the newly identified Reaper, the authorities brutally quarantine the country as it succumbs to fear and chaos. The literal walling-off works for three decades – until Reaper violently resurfaces in a major city. An elite group of specialists, including Eden Sinclair (Mitra), is urgently dispatched into the still-quarantined country to retrieve a cure by any means necessary. Shut off from the rest of the world, the unit must battle through a landscape that has become a waking nightmare.

Where?

Hotel Room…again.

With?

This time the girlfriend was awake.

Why?

I initially watched this last year, quite late at night and remembered enjoying elements of it but then ended up falling asleep. I had to bring the DVD back the next day so I never got to see the end of it, or in fact any of it whilst fully awake. I’m a big fan of Neil Marshall so I’m rooting for Doomsday to make it 3/3.

Worth It?

Well it wasn’t 3/3 but then it wasn’t completely bad either, merely a bit of a mess.

You could see where Marshall was taking his influences from and for a while (mainly the first 40 minutes) they were really working for him but by the end it was all a bit slapdash and confused. The performances were all adequate without busting a gut and the effects were pretty spot on but that was to be expected as it was the biggest budget he has handled.

I’m hoping Marshall can take the positives from Doomsday and build on them, whilst being able to identify where it went wrong, and then pushing his career forward to become a big name in genre pictures.

For now, it seems he is one or two movies off.

5.5/10

Doomsday è un film del 2008, film d’azione scritto e diretto da Neil Marshall. Il film si svolge nel futuro, in cui la Scozia è stata messa in quarantena a causa della comparsa di un virus mortale.

Leggi altre notizie su: | Neil Marshall | Malcolm McDowell | Rhona Mitra | Bob Hoskins | Alexander Siddig

“Six soldiers. Full moon. No chance.”

Today’s review is another suggestion/recommendation from a reader. This is actually my second viewing of ‘Dog Soldiers’, which I had initially rented when it was a new release. I’m pleased to say I enjoyed this flick just as much as I did the first time. Don’t be put off by that cheesy looking cover. The film’s DVD art is not a reflection of the quality product contained within.

The bloody remains of a cow dropped into their camp surprise a group of soldiers on a routine training mission in Scotland. They follow the bloody breadcrumbs to what remains of a Special Ops squad. Among the blood and guts they find a wounded survivor. The enemy has come back for seconds, but thanks to a zoologist driving through the area, the group manages to escape. With two badly wounded men in the group, they decide to hole up in a local house. Here they are forced to battle an unimaginable enemy, a pack of werewolves.

We begin with a couple camping in the woods. The zipper of their tent slowly moving upwards interrupts their necking. As they stare dumbfounded, the female is ripped from the tent and killed. We then move to a scene where a man is being chased, but learn that he is completing survivor training. His refusal to shoot a dog in the head for no reason gets his ass booted out. Now enter our soldiers on a routine training mission. Private Cooper, our man who refused to shoot the dog (and good on ya sir!) is now part of this group. When they find the gory remains of the Special Ops unit, he instantly recognizes the survivor as his former superior, Captain Ryan. Captain Ryan played by Liam Cunningham is the films asshole. In direct contrast is the personable Sargeant Wells played by Sean Pertwee. The group under Sargeant Wells command are a bunch of likeable blokes who are about to get a lot more than they signed up for. Rounding out the cast is the films lone female, our zoologist Megan. The film is well cast with every single performance top-notch. Perhaps I am somewhat charmed by the accent, but there is definitely a natural fluid feel to the dialog.

The film is well written, particularly the dialog as noted above. Some of the banter between the men is humorous, but the film is generally a more serious affair. Like vampires and zombies, there is a pre-determined set of rules one comes to expect with werewolf behaviour. They stick to the basics here, hunting during the full moon, good eyesight, can’t be taken down by a regular bullet. Of course the men had no idea they would be running into werewolves so they didn’t come prepared with silver bullets, but there’s pretty much nothing you can’t blow to bits.

There is a decent amount of blood and gore. The werewolves make short work of their prey leaving nothing behind but entrails and blood. Plenty of blood. That stuff can really stick to a boot! The werewolves are extremely impressive from a distance and cast a most intimidating shadow. Unfortunately, there are times when the shots get close in, that they look considerably less than perfect. But you have to appreciate that they opted for costumes over CGI.

The mood is excellent. It manages to keep a nice intensity throughout. The remote, vast expanse of wilderness that the troops are dropped into adds to the sense of hopelessness, which escalates as the film moves along. How can so much space seem so claustrophobic? Marshall is a master at casting and mood. If you are a fan of his film ‘The Descent’, and you’re not adverse to creature features, you will probably find much to enjoy here. A solid story, excellent cast, great setting and decent effects make ‘Dog Soldiers’ an excellent way to spend 100ish minutes. Highly Recommended!

Dungeon Rating: 4/5

Directed By: Neil Marshall

Starring: Sean Pertwee, Kevin McKidd, Emma Cleasby, Liam Cunningham, Thomas Lockyer, Darren Morfitt, Chris Robson, Leslie Simpson

The adventure

BIG FISH
Director: Tim Burton
Starring: Ewan McGregor, Albert Finney, Billy Crudup, Jessica Lange, Steve Buscemi
Released: 2003
IMDB
Trailer (opens in a new window)

Synopsis: Throughout his life Edward Bloom (Ewan McGregor) has always been a man of big appetites, enormous passions and tall tales.  In his later years, portrayed by five-time Best Actor Oscar® nominee Albert Finney (Best Actor in a Supporting Role, Erin Brockovich, 2000), he remains a huge mystery to his son, William (Billy Crudup).  Now, to get to know the real man, Will begins piecing together a true picture of his father from flashbacks of his amazing adventures in this marvel of a movie. (From the DVD cover)

Why watch this? I see absolutely no reason for why you shouldn’t. This is a colourful, fascinating, crazy, fantastic fairy tale for adults. Tim Burton is easy to recognise, and this is no exception, although it’s not as dark as Edward Scissorhands, Sleepy Hollow, Sweeney Todd etc. This is the story of a son trying to find out who his father really is, behind all the amazing stories. The editing, music, dialogue and general impression is just wonderful, and if you haven’t watched this yet – then I really don’t know what you are waiting for.

The horror movie

[REC]
Directors: Jaume Balagueró & Paco Plaza
Starring: Manuela Velasco, Ferran Terraza, Jorge Serrano, Pablo Rozzo
Released: 2007
IMDB
Trailer (opens in a new window)

Synopsis: REC turns on a young TV reporter and her cameraman who cover the night shift at the local fire station. Receiving a call from an old lady trapped in her house, they reach her building to hear horrifying screams – which begin a long nightmare and a uniquely dramatic TV report. (From IMDB)

Why watch this? It’s hard to find a good horror movie. At least I think so. [REC] is very satisfying, considering the challenging genre. The story is pretty good, and you’re (quite literally) left in the dark not understanding what’s actually going on for a long while. Through the camera man and the ambitious reporter’s eyes, a nightmare unfolds, and due to the ‘panicky’ filming (Blair Witch Project, Cloverfield), you’ll probably find yourself dragged into the story. Remember to pick up a copy with subtitles unless you speak Spanish!

The chick flick

THE HOLIDAY

Director: Nancy Meyers
Starring: Jude Law, Cameron Diaz, Kate Winslet, Jack Black
Released: 2006
IMDB
Trailer (opens in a new window)

Synopsis: Iris is in love with a man who is about to marry another woman. Across the globe, Amanda realizes the man she lives with has been unfaithful. Two women who have never met and live 6000 miles apart, find themselves in the exact same place. They meet online at a home exchange website and impulsively switch homes for the holiday. Iris moves into Amanda’s L.A. house in sunny California as Amanda arrives in the snow covered English countryside. Shortly after arriving at their destinations, both women find the last thing either wants or expects: a new romance. Amanda is charmed by Iris’ handsome brother Graham and Iris, with inspiration provided by legendary screenwriter Arthur, mends her heart when she meets film composer Miles. (From IMDB)

Why watch this? Right, listen guys. If your girlfriend is making you watch a chick flick, it might aswell be this one. This is a charming love story, involving all the usual complications and twists a chick flick should include, without getting too cheesy. I find myself  smiling and aww-ing through most of it, and both my brothers and my boyfriend seemed to be okay with this movie.

The documentary

MARCH OF THE PENGUINS

Director: Luc Jacquet
Starring: Lots and lots of penguins
Released: 2005
IMDB
Trailer (opens in a new window)

Synopsis: The cycle of life the Emperor’s penguins is disclosed in this wonderful documentary. Every autumn, these animal leave the safety of the ocean and march along twenty days to a place called “Oamack”. Once there, they select their mates, they procreate, protect and feed their offspring and after months they return to the sea. Later, their progeny go to the ocean, where they stay for four years, and when they reach their adult life, they follow the same pattern of their parents. (From IMDB)

Why watch this? I’m not gonna lie to you. I adore penguins. And this is the best documentary I’ve EVER seen about them. The camera team has spent ages out there in the extreme cold with them, and made an amazing documentary of it. This is more than your average documentary, you really do get involved emotionally in this one. The music is amazing, and footage is crisp and close to what’s happening. (As a side note, I put this movie on when my boyfriend was sleeping, and tried to wake him up through all of it – but only managed in time for the mating. Now he definately thinks I have an awkward penguin fetish.)

The disaster movie

DOOMSDAY

Director: Neil Marshall
Starring: Rhona Mitra, Jeremy Crutchley, Cecil Carter
Released: 2008
IMDB
Trailer (opens in a new window)

Synopsis: A lethal virus spreads throughout the British isles, infecting millions and killing hundreds of thousands. To contain the threat, acting authorities brutally quarantine the country as it succumbs to fear and chaos. The quarantine is successful. Three decades later, the Reaper virus violently resurfaces in a major city. An elite group of specialists, including Eden Sinclair, is urgently dispatched into the still-quarantined country to retrieve a cure by any means necessary. Shut off from the rest of the world, the unit must battle through a landscape that has become a waking nightmare. (From IMDB)

Why watch this? If you have a thing for nasty disasters, this is a good example. I do love a good disaster movie, especially the ones involving a crazy epidemic/pandemic.

“Hey, there’s something down here…”

How we will remember those words.  Director Neil Marshall has created a gripping story of frightening originality. The result is one of the best damn horror movies of the decade.

Not since Jurassic Park has a film created such suspense, giving you a genuine sense of uneasiness and keeping you pitched on the edge of your seat. I saw Jurassic Park when I was 12, so it really did take something special to generate that same feeling 13 years later. That nervous feeling you get in the pit of your stomach will be a constant one when watching The Descent.

The story follows six female friends. They are all adventurers and love extreme sports like base jumping, mountain climbing, and kayaking. A horrific tragedy occurs which creates some distance amongst the friends. Over a year later, these friends have planned a reunion to try and regain the normalcy that they once had. Juno, the ringleader, decides on embarking on a cave dwelling trip to an unexplored cavern, deep below the earth’s surface. What starts out as an innocent trip underground, becomes far more serious after an avalanche of rock block one of the tunnels they travel from. With no food or water these women must find a way out before the lights that they carry burn out. Adding to their impending doom are the mysterious creatures that inhabit the surrounding area.

While Juno tries to lead the way up, dissension starts to slowly dissolve the effectiveness of the girls’ abilities to work together. After the group encounters the creatures, some become separated from one another, making their path to the earth’s surface a near impossibility. The story has enough plot twists, shocking moments, to keep the story rather unpredictable.

This is a film of genuine suspense, so very rare these days with American horror films. Many rely on cheap tricks and gore to draw an audience. This is not one of those films.  The Descent does an exceptional job of keeping you glued in every step of the way, anticipating what is around every corner with many jumps along the way. The atmosphere is incredible. The lights they carry become their eyes, as they explore a pitch black world. The women must travel through uncharted territory, squeezing through tiny cracks in the earth, totally triggering fear in anyone with remote claustrophobia. It is uncomfortable to watch someone become stuck in a tunnel of rock. Certain scenes will put a strain on your psyche and are uncomfortable to watch.

The violence is disgustingly brutal. Internal organs and gushing arteries are just some of violence on tap. Once these women encounter the cave creatures, the blood flow is almost endless. There are specifically a few scenes that are hard to watch, and die-hard horror fans will absolutely love this. The film also does an excellent job at avoiding many key horror clichés.

The acting is excellent throughout the story, as all six cast members really do a great job at capturing the fear that would place in a situation like this. The cinematography is top notch, creating a variety of striking images and scenes that will become of cult-like popularity in the future. There are so many scenes where you will question, how the hell are the filming this? But one of the real treats of the film is the actual design of these creatures, which is simply ingenious. From the Predator like clicking sound, to their disgustingly slimy exterior, the nightmarish appearance of these creatures are up there with the best of them.

The only real nit-pick I have is that the film has such an exceptional build-up, that the ending feels slightly anti-climactic. But from what I have read, there is a different ending for some reason in the European version of the film.

The Descent is an exceptional journey underground that will leave each viewer with something to remember. Not only do these women have to battle these creatures, but they must battle themselves, as trust becomes as fleeting as the air they breathe. A film of stark originality and vision, it is one of the best horror films I’ve seen in a long time.

Ugledni holivudski scenarist William Goldman je u svojoj knjizi “Adventures in the Screen Trade” napisao kako u Hollywoodu “nitko ne zna ništa”. S tim se teško ne složiti, pogotovo s obzirom na sklonost američke industrije zabave da gotovo ništa ne uči iz svojih pogrešaka.

Jedan takav primjer bi vrlo lako mogao predstavljati projekt koji je nedavno izazvao zanimanje fanova Dine, kultnog SF-romana Franka Herberta. Jedna od najpopularnijih knjiga u žanru znanstvene fantastike bi tako trebala dobiti spektakularnu holivudsku adaptaciju.

A malo koja knjiga izaziva uzdahe pri pomisli na filmsku adaptaciju kao Dina. Uzbuđenje koje bi filmska verzija mogla izazvati među njenim fanovima se vrlo lako može usporediti s uzbuđenjem koje su desetljećima pri pomisli na velike ekrane osjećali fanovi Gospodara prstenova.

Međutim, kod Dine ima jedan problem. Filmska adaptacija je već napravljena u režiji Davida Lyncha 1984. godine, i njeni rezultati baš i nisu bili potpuno zadovoljavajući. Glavni razlog je, dakako, u tome što se knjiga epske dužine, bogata likovima i sadržajima, jednostavno ne može utrpati u format od dva sata.

Taj problem je nešto kasnije pokušao riješiti remake u obliku mini-serije, koja je u pravilu zahvalniji format za adaptacije epskih književnih djela. Međutim, mini-serija, koja je bila daleko vjernija i sadržajno bogatija adaptacija, razočarala je zbog relativno niskog budžeta, nepoznatih glumaca i loših specijalnih efekata. Dojam je, doduše, prilično popravljen s nastavkom Djeca Dine, koji je mnogo uspješnije obradio dva sljedeća romana iz Herbertove serije romana.

Međutim, iako prva filmska ekranizacija nije uspješna, i iako je relativno nedavno snimljena TV-adaptacija, u Hollywoodu očito ima ljudi spremnih na novu remake-pustolovinu. Tako je već napisana prva verzija scenarija – koja navodno ima 175 stranica – a trenutno se razmišlja o angažmanu dvojice redatelja, pri čemu su glavni kandidati Britanac Neil Marshall, poznat po kult-hororu Dog Soldiers, te Južnoafrikanac Neil Blomkamp koji je mnoge oduševio sa SF-filmom Distrikt 9. Kao glavni glumac, koji bi trebao tumačitim Paula Muad’diba, navodio se Robert Pattinson, iako tek kao najbolja opcija za Petera Berga, prethodno angažiranog režisera koji je nakon nekog vremena odustao od projekta.

To sve zvuči kao dobra ideja, ali je povijest Hollywooda prepuna primjera u kojima su dobre ideje postale žrtvama odvratne realizacije. Režiseri koji majstorski barataju s malim jeftinim B-filmovima se izgube poput malog djeteta u skupim produkcijama velikih studija. Vrhunski glumci troše svoj talent i reputaciju na uloge koje im pašu kao ribi bicikl. A previše je sjajnih knjiga koje izazivaju razočaranje sa svojim fimskim adaptacijama. Dini bi se to moglo dogoditi čak dva puta.

El director Peter Berg ha abandonado Dune, futura superproducción que, anunciada tiempo atrás, no ha terminado de arrancar. La nueva adaptación del clásico de Frank Herbert se queda por el momento sin cabecilla, aunque al parecer se ha comenzado la búsqueda de un nuevo realizador. Suenan por el momento dos nombres: Neill Blomkamp y Neil Marshall. Ambos entrarían en el perfil que se busca, un director que pueda sacar adelante el proyecto por unos de 175 millones de dólares, que rechace los anticuados efectos especiales de los 80 (que usó David Lynch en la primera adaptación cinematográfica del 1.984) y que tenga una pasión preexistente por la saga literaria y entusiasmo por el proyecto. El favorito es Marshall, aunque hay quien piensa que no sería capaz de manejar con éxito un presupuesto tan grande después de que su mayor éxito haya sido una obra modesta (aunque cautivadora) como The Descent. En contra de Blomkamp estaría su inexperiencia y el hecho de que ya esté preparando su próximo proyecto. Marshall por su parte ya ultima Centurion. Es de suponer que pronto tengamos noticias al respecto, si es que por fin la película logra salir adelante.

'DUNE' (DAVID LYNCH Version) Movie Poster circa 1984

Read more HERE.

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Peter Berg has left the new adaptation of Dune, according to CHUD.

It turns out Berg has lots of things on the go at the moment and Dune has suffered because of it.

Apparantly, Neil Marshall (The Descent) and Neill Blomkamp (District 9) have both been contacted but I cannot see either of them doing it and to be honest I don’t think Dune will be made any time soon.

Maybe Peter Jackson should have a crack at Dune? Who would you want to see direct a Dune film not that Peter Berg has left the project?

[En bonus à l'approche de la parution de VERSUS n° 17 : un "point de vue" sur The Descent : Part 2, finalement non conservé dans le sommaire, pour des raisons de parution décalée. Découvrez la critique - positive - ci-dessous, ou téléchargez en PDF la chronique initialement mise en page pour le prochain numéro, en cliquant ici.]

point de vue
The Descent : Part 2

Réalisé par le monteur du film original, The Descent : Part 2 commence son intrigue exactement là où celle du film de Neil Marshall se terminait, et réussit le pari audacieux d’être aussi tendu et claustrophobique que son brillant modèle. Même si le métrage repose sur un canevas des plus basiques (trivial diront certains), le spectateur est comme happé par les ténèbres de ce monde souterrain inconnu, comme le sont les protagonistes de l’histoire. L’excitation de ces secouristes chevronnés à l’idée d’être les premiers à arpenter ces galeries jamais encore explorées par aucun spéléologue va vite faire place à la terreur la plus psychotique quand ils vont se retrouver face aux Crawlers. Comme chez Lovecraft, l’horreur émerge d’un univers échappant à l’entendement humain. La recherche de la lumière, porte de sortie de ces galeries où règne la Mort, devient la seule préoccupation des personnages, une fois conscients du danger encouru. Une motivation qu’on retrouve également chez le spectateur, qui tente de se soustraire à la noirceur des images et se raccroche à la moindre luminosité éclaircissant le cadre. Une aversion pour la pénombre savamment utilisée par le réalisateur pour élaborer ses « effets de trouille ». Lors d’une des premières apparitions des Crawlers, le regard du spectateur – tout comme celui d’un des personnages – se focalise sur les images lumineuses de l’écran d’une caméra vidéo, alors même que l’effroi surgira « hors-cadre » : la technologie n’est donc d’aucune aide pour les protagonistes, puisque susceptible de se retourner contre eux. Précieux instruments de communication, les radios se révèlent être au final le moyen le plus sûr d’attirer l’attention de ces prédateurs à l’ouïe si fine peuplant ces cavités exigües. La survie dans ce milieu hostile passera au contraire par le retour à une forme de bestialité primitive : retrouver « l’Humanité » en réveillant cette animalité qui sommeille au plus profond de nous. Un paradoxe fascinant, tout comme l’est cette sauvagerie bestiale qui se dégage du métrage. Impossible de ne pas voir in fine en Sarah et ses amies les parfaits avatars féminins du Major Dutch Schaefer, héros du Predator de McTiernan.

Fabien LE DUIGOU

GRANDE-BRETAGNE 2009 RÉAL. & MONT. : JON HARRIS SCÉN. : J BLAKESON, JAMES McCARTHY, JAMES WATKINS DIR. PHOTO : SAM McCURDY MUS. : DAVID JULYAN DÉCORS : SIMON BOWLES SFX : PAUL HYET PROD. : CHRISTIAN COLSON & IVANA MACKINNON POUR CELADOR FILMS PRODUCTION INT. :SHAUNA MACDONALD, NATALIE JACKSON MENDOZA , KRYSTEN CUMMINGS, GAVAN O’HERLIHY, JOSHUA DALLAS, ANNA SKELLERN, DOUGLAS HODGE … DUR. : 1h33 DIST. : PATHÉ DISTRIBUTION DATE DE SORTIE : LE 14 OCTOBRE 2009

2002, dir. Neil Marshall

Dog Soldiers is the story of a group of soldiers who, on a training mission in Scotland, run into a pack of werewolves.

As a viewer, I totally failed this movie. I got mixed up about something at the very beginning and it followed me to the end, by which time I was very confused. Afterwards, I went back to review the timeline of the first two opening events and figured out what I’d gotten wrong. I had thought the man in the very beginning was the same man, called Spoon, who was on the team of soldiers. I don’t know if that’s an easy mistake to make, or just me. I tried to forgive it when looking at this movie as a whole.

Spoiler Alert.

Aside from my character mix-up, I often felt like I was not watching the movie in the way I was expected to. I could see bits that were intended to be funny, but I didn’t find them humorous. I can’t point to a reason why, except that oftentimes the dialogue felt too aware of its cleverness. Near the end, the one main female character says, “I guess it’s just that time of the month,” then turns into a werewolf. Get it? It works because of the whole PMSing lady thing, and because it’s a full moon out and she’s all werewolfy. But, whatever *rolls eyes* Her speach leading up to this point was so gibberishy that I actually said, out loud, to my TV, “What are you talking about, lady?” Ugh, I couldn’t stand her.

Here’s what I did like about Dog Soldiers: The character – Private Cooper, played by the very handsome, likeable Kevin McKidd; the werewolves. They look pretty awesome. At first, they’re a bit of a mystery; we hear them rather than see them. As the movie progresses, we see more and more of them. They do not disappoint.

I should probably watch it again. To be fair.

From PRNewswire-FirstCall

Lionsgate announced today that it has acquired worldwide distribution rights to BURST 3D, a horror/thriller to be produced by Ghost House Pictures.  Neil Marshall, who wrote and directed Lionsgate’s 2006 horror success THE DESCENT, will direct.  Ghost House partners Sam Raimi (DRAG ME TO HELL, the SPIDER-MAN series) and Rob Tapert (DRAG ME TO HELL, THE GRUDGE) will produce and Nathan Kahane (DRAG ME TO HELL, THE GRUDGE) will executive produce.  Tendo Nagenda and J.R. Young will oversee the project for Ghost House.  The screenplay is written by Gary Dauberman.  The announcement was jointly made today by Joe Drake, Lionsgate Co-Chief Operating Officer and Motion Picture Group President, Mike Paseornek, Lionsgate President of Motion Picture Production, and Ghost House’s Tapert and Kahane. 

The collaboration between Lionsgate and Ghost House reflects the strength of longstanding professional and creative relationships within the two entities. Lionsgate’s Drake was an original founder with Raimi, Tapert and Kahane of Ghost House, and BURST 3D marks the first Ghost House production to be distributed through Lionsgate since Drake assumed his present post in 2007. 

The deal also represents Lionsgate’s ongoing leadership in the 3D arena.  The studio was the first to apply next-generation 3D technology to the horror genre with its critical and box office success MY BLOODY VALENTINE 3D, released January 16th of this year.

Said Paseornek, “We are thrilled to be working again with Neil Marshall, a modern master of horror, suspense and action.  With Neil at the helm of BURST 3D, horror fans are guaranteed one of the most terrifying and innovative experiences of their moviegoing lives.” 

Said Tapert, “Mike Paseornek and the Lionsgate team are leaders in the horror space.  This, along with the opportunity to work closely with Joe again, were motivating factors in our desire to partner with Lionsgate on BURST 3D.  We hope to continue the partnership with Lionsgate on other projects like this.”

The deal was negotiated for Lionsgate by Wendy Jaffe, Executive Vice President Business & Legal Affairs, Acquisitions and Co-Productions; and by attorney Craig Jacobson on behalf of Ghost House.  The director deal was made by Rob McEntegart for Ghost House and by Marc Helwig of Paradigm and attorney Carlos Goodman for the director. Sam Raimi is represented by CAA.  Neil Marshall is represented by Marc Helwig of Paradigm.  Gary Dauberman is represented by International Creative Management and managed by Circle of Confusion. 

SYNOPSIS

A group of stranded travelers meet during a blizzard and are stalked by a malevolent force that makes people spontaneously combust.

Amazon Specials!

Neil Marshall (Dog Soldiers, The Descent, Doomsday) is going to have a go at some 3-D horror according to Heat Vision.

Marshall will direct Burst 3D for Ghost House Pictures, a film that puts him back in business with Lionsgate, which distributed The Descent.

Ghost House partners Sam Raimi and Rob Tapert will produce which is pretty cool. Marshall and Raimi making a horror film.

The story is about a group of stranded travelers who meet during a blizzard and get stalked by a malevolent force that makes people spontaneously combust. That should be perfect for the 3D effects. In fact it makes it sound like one of those gimmicky films from the 50s which may be a good or a bad thing.

Marshall, the editor-turned writer/director is currently working on Centurion, the period film that stars Michael Fassbender. A group of Roman soldiers fight for their lives behind enemy lines after their legion is ambushed during the Roman invasion of England in 117 A.D. I posted some new photos of that a few days ago.

What do you think about Burst? Naff or brill?

Pues ya he visto la esperada secuela de The Descent; película que me sorprendió en su momento, porque no esperaba demasiado de ella. Comienza donde dejamos a la protagonista de la anterior. No puedo desvelar mucho para los que ya la vieron y menos para los que no conocen lo que puede que se convierta en una saga. Las criaturas me parecen todavía más salvajes, y las escenas de enfrentamiento, con más sangre.

Finally some more photos from Neil Marshall’s (Dog Soldiers, Descent) all action Roman vs Picts film, Centurion.

Empire had the goods and they are looking very good indeed.

The movie speculates on the fate of Rome’s reputedly ‘lost’ Ninth Legion, who in this take are north of Hadrian’s Wall, engaged in a bloody battle and facing a bit of trouble getting out of hostile Pict country.

Below is Michael Fassbender’s as Quintus with Liam Cunningham

Source: Empire

Inside or À l'intérieur (2008)

A scene from Inside

Inside or À l’intérieur is a 2007 French horror film released in the United States over a year ago. It is directed by Alexandre Bustillo and Julien Maury, who at one point were mentioned as possible directors for the Hellraiser remake. That would’ve been nice to see as Inside is definitely one of the scariest and most sick and twisted movies I’ve ever seen. I’m a full grown adult male and this movie actually gave me nightmares, but I don’t want to overrate the film, as your typical bloodthirsty horror-movie goer may be distracted by the actors who mumble enough that you may actually have to read what they are saying (the film is in French of course). Also, the pace is unnerving and might require some patience from those who appreciate inferior gorefests. This is a very violent film and intentionally so, but it is so much more frightening to watch because it sets you up nicely with great context, writing, and acting. In other words, if a film was this quality and not a horror film I would still be praising it for these reasons, and fellow cinephiles anticipating good horror know exactly what I’m talking about. Well, this is the best horror film since Neil Marshall’s 2005 film The Descent and perhaps maybe even Takashi Miike’s 1999 film Audition. In other words, you really have to look all over the world for a good horror movie and the French deliver big on this one like they did with Aja’s High Tension and the amazing Gaspar Noe film Irreversible.

Dalle and Alysson Paradis

It is set on Christmas Eve during what appears to be the 2005 riots in France. I’m not sure those riots continued much into December but it appears to be the backdrop of the film. We follow pregnant Sarah (Alysson Paradis) after her boyfriend was killed in a car accident they both experienced months earlier. She is stalked by a mysterious woman played by Beatrice Dalle. Dalle is most famous for her performance in 37°2 le matin (Betty Blue to American audiences) over twenty years ago. She really is a great actress and brings out that fierce psychotic rage again for her role here. She is dressed in a long black Victorian gown that hides her well in the shadows and gives her a ghostly presence. This reminded me of some of those great horror films from the silent era and was very effectively used. It also reminded me of the Hellraiser villain Pinhead, which seemed to connect well with the directors’ once rumored involvement in that remake. Anyway, Dalle is frightening in this role and absolutely among the most vicious villains to appear onscreen in quite some time.

Beatrice Dalle's villain is horrifying, intense, and memorable.

Other than pushing the envelope in terms of gore, the influences here run deep. The suspense is effective and we are only gradually given hints about the villain’s motives until the end. How far she will go to get what she wants is another thing we might question, and believe me you cannot even imagine how far she will go. There are moments at the end of this film that scared me to the point where I felt like looking away. Moments that rank up there with scenes from great horror films like Alien, Audition, Dawn of the Dead, Suspiria, or even the The Exorcist, among others. It is hard to write about a horror film I enjoy because I feel compelled to say so much more, but I don’t want to give anything else away. Suffice to say, if you’re not troubled by this film then you are missing out on the fun of watching great horror. Very highly recommended, but not for the squeamish.

My rating is 5 out of 5 stars.

Juízo Final não é um filme B tão compacto e eficaz quanto os anteriores Dog Soldiers e The Descent, mas é bem melhor que as críticas sugeriam. Neil Marshall rouba do mais variados filmes de ação dos anos 80 com o mesmo prazer de um Robert Rodriguez, mas tem mais disciplina ao colocar seus elementos dispares em choque. Marshall pensa muito bem o seu filme e em como seu remix de elementos em choque podem ser intrigantes (seus dois filmes anteriores também tinham um olhar apurado para iconografia de gênero apesar de roubarem menos diretamente de filmes específicos). Marshall consegue tanto potencializar a idéia da Escócia servindo de locação para o seu Fuga de Nova York como fazer bom uso de 3 idéias diferentes de decadentismo britânico (Londres, Glasgow e o império pseudo medieval do Malcolm MacDowell). O filme poderia até se chamar 3 propostas para o fim do império britânico. Por sinal é bom apontar que é uma versão extremamente britânica de originais americanos e/ou australianos. Se o filme é limitado um pouco é por conta das cenas de ação ficam a dever um tanto, especialmente comparada a precisão com que Marshall conduzira tanto Dog Soldiers como The Descent.

Sarah (Shauna Macdonald), die Überlebende des ersten Teils, wird blutüberströmt aufgefunden, während Bergungsteams noch nach den vermissten Frauen suchen. Gemeinsam mit Sarah steigt man schließlich erneut in das Höhlensystem hinab, nur um dort wieder den blutgierigen Crawlern zu begegnen. Aber noch etwas hat überlebt …

Neil Marshall hatte vor ein paar Jahren mit THE DESCENT das Maximum aus seiner Prämisse –  konfrontiere  miteinander konkurrierende Frauen in einem klaustrophobischen Szenario mit fiesen Monstren – herausgeholt. Regiedebütant Jon Harris ist es nun das Kunststück gelungen, dies noch einmal zu wiederholen.  Er verzichtet zugunsten ausgedehnterer Kämpfe mit den Monstern auf eine lange Exposition, führt auch das Höhlensetting gar nicht erst lang ein, weil es ja bereits bekannt ist, und liefert einen mit heftigen Schocks, deftigen Splattereinlagen, ausgesprochen spannenden Passagen und darüber hinaus einer gut gesetzten Überraschung gespickten Film, der sich lediglich im unnötigen und angeklebt wirkenden Schluss vergreift. Hervorzuheben sind die fantastisch getimten und aufgebauten Schockmomente, die zum fiesesten gehören, was ich in dieser Richtung seit langem gesehen habe. Wer meint, dass ihn nichts mehr erschrecken kann, kann sich von THE DESCENT 2 eines besseren belehren lassen. Gegen Ende, wenn dann sehr überraschend ein weiterer Charakter eingeführt wird, offenbart der Film sogar etwas Tiefe, knüpft gut an die Eifersuchtsthematik des ersten Teils an und erhebt sich gar zur Traumabewältigungs-Allegorie.

A sinopse é a seguinte: Um vírus letal se espalha por um país e mata centenas de milhares de pessoas. O governo se vê forçado a manter a nação em quarentena. O abafamento funciona por 30 anos – até que outro foco surge, forçando uma equipe de especialistas a buscar a cura no meio do caos. (Omelete).

Nada mais aproveitador do que lançar um filme cuja trama gira em torno de um vírus que se espalha em alta velocidade pelo mundo, causando mortes e desespero nas pessoas, né? Hollywood é assim. Não perde a oportunidade…

O filme acontece em duas épocas distintas: em 2008 e em 2033. Na primeira época, o vírus Reaper se alastra pela população de Glasgow e em semanas toda a Escócia tem sua população dizimada. Um muro surreal foi construído ao redor de todo o país, por terra e por ar, para que as pessoas ficassem confinadas lá para morrer. Nesse cenário caótico é que aparece pela primeira vez a heroína do filme, a Majos Sinclair, ainda uma criancinha.

Vinte e cinco anos depois, Reaper reaparece. Só que agora no centro de Londres, capital do reino bretão. As autoridades entram em desespero e planejam fazer o mesmo o que fizeram com a Escócia, só que agora com a Inglaterra. A não ser que em 48 horas um pelotão de elite consiga trazer tudo o que já foi estudado sobre o vírus para tentarem produzir uma cura. Só que esses estudos estão na antiga Glasgow e, recentemente, satélites espiões detectaram focos populacionais lá. E quem está no comando da empreitada? Edan Sinclair.

O filme tem uma viagem muito psicodélica , misturando três ambientações totalmente diferentes: Londres de 2033, Glasgow depois do apocalipse e o interior escocês medieval. Essa mistura me deixou meio abobado, porque nunca pensei que ia ver algo do tipo num filme. Com o desenrolar da história, foi tudo explicado. Os argumentos não me convenceram muito, mas eles tentaram… Pelo menos isso, né?! Mas, não para por aí não. Tem de tudo no filme: armas superdesenvolvidas, canibalismo (cenas fortes, por sinal), perseguição em alta velocidade, luta medieval… É um mix de quase tudo. Por esse “mix de tudo”, o filme lembra vários outros que provavelmnte você já tenha assistido: Extremínio, Eu sou a Lenda, Resident Evil e até um pouco de Mad Max tem.

E por falar em Resident Evil, a sensação de que você está jogando um jogo de videogame permeia todo o filme. O diretor da produção é Neil Marshall e ele já tem uma identidade cinematográfica. Seus filmes são recheados de sangue, criaturas e personagens esquisitos, falta de coerência, surrealismo e nem um pingo de realidade. Você pode constatar tudo isso na Glasgow abandonada que ele recriou e seus “novos habitantes”…

O que o filme consegue mostrar é que ele possui ação do começo ao fim. Não importando os meios com que isso acontece. Embora seja uma mistureba clichesástica de coisas que já vimos antes, ela funciona e diverte. Isso. Não passa de um bom divertimento sem compromisso. Ah… Já ia esquecendo: a trilha sonora é de tirar o fôlego.

Imagens:

Juízo Final (Doomsday), distribuído por Europa Filmes, EUA/2008, um filme de Neil Marshall, roteiro de Neil Marshall, com Emma Cleasby , Rhona Mitra , Christine Tomlinson , Vernon Willemse , Nathan Wheatley, Alexander Siddig, Bob Hoskins e David O’Hara, Ação/Ficção Científica, 105 min, inadequado para menores de 14 anos.

Ya tenemos disponible el segundo Tráiler de ‘De2cent‘, secuela de la cinta estrenada en 2005 por Neil Marshall y que en esta nueva entrega tendrá detrás de las cámaras a Jon Harris. La cinta está protagonizada por Hauna MacDonald, Natalie Jackson Mendoza, Gavan O’Herlihy, Joshua Dallas, Anna Skellern, Douglas Hodge y Krysten Cummings, y de momento sin fecha prevista de estreno en cines tanto en España, como en Estados Unidos.

La cinta -ojo, Spoiler- en esta segunda entrega la acción transcurre donde lo dejó la anterior entrega: Shauna Macdonald consigue salir viva de la cueva ya que la encuentra un grupo de rescate. Sin embargo, volverán a entrar en busca de supervivientes…Fin del Spoiler.

Haz Click Aqui para ver este terrorifico trailer

Once you got past all the Sex and the City-style blabbering, Neil Marshall’s The Descent was a mean little chiller that grabbed you by the throat and refused to let go until you were ready to draw your final breath. Not sure how a sequel will work without Marshall behind the cameras, or whether it uses the British or U.S. ending as a starting point, but the trailer for The Descent Part 2 suggests we’re in for more of the same bloody behavior from those creepy, crazy crawlers. The Descent Part 2 opens Dec. 2 in the United Kingdom, but no word yet on a U.S. release date from Lionsgate.
Trailer Grade: B

IMAGEM: Cinema em Cena

Marshall, 2008

 Para mim, é sempre agradável ver um filme que me leva a coçar a cabeça e pensar “mas o que diabo é ISTO?”. Tanto melhor se ele não vier do circuito de “arte” (com aspas, por favor), mas de onde menos se espera que um filme provoque uma reação assim: do cinema comercial ou de gênero.

 Este ano já Neil passei por isso com o maluco Presságio (com Nicolas Cage), agora passei de novo com este deliciosamente cara de pau Juízo Final. E o filme até que começa com uma premissa típica de ficção científica B.

 Em 2038, um muro vigiado separa a Escócia do resto do mundo, pois o país foi devastado por um vírus letal trinta anos atrás. Mas o vírus ressurge na Inglaterra. Como há provas misteriosas de sobreviventes na Escócia, uma equipe armada, liderada por uma policial durona (Rhona Mitra) atravessa a barreira para trazer a hipotética cura.

Filmes e gêneros
 Daqui pra frente, há uma sucessão de situações tiradas de outros filmes e gêneros e reunidas de forma a desrespeitar totalmente a idéia do que deve ser um filme de ação “coerente” e “lógico” (mais aspas). Para você ter uma idéia, a equipe logo enfrenta um exército de sobreviventes, canibais de visual sadomasoquista.

 Quando eu estava me acostumando com o filme ter virado uma reciclagem de Mad Max, surgem outros sobreviventes. Desta vez, morando num castelo, e agindo como na Idade Média, tornando boa parte do filme num capa-e-espada!

 Mais adiante, brigas e perseguições entre esses grupos misturam sem o menor pudor espadas, flechas, metralhadoras, granadas, carros e cavalos. O mais incrível é que não há piscadas irônicas pro público. Ao contrário, o filme parece se levar a sério – estamos distantes do cinema de Tarantino e Robert Rodriguez.

Um desastre?
 Levando tudo isso em conta, seria Juízo Final uma produção que saiu dos trilhos e tornou-se um desastre sem freios? Não creio que um cineasta como Neil Marshall, capaz de algo tão pensado quanto o tenso Abismo do Medo – um filme melhor, mas menos inusitado que este – perderia desse jeito o controle de uma criação sua.

 Na verdade, o domínio de Marshall me parece evidente em cada imagem e cada cena, incluindo as de ação. O diretor conduz as seqüências sem perder o ritmo nem a linha narrativa – não importa quão bizarra ela se torne. Portanto, também estamos distantes de um cinema trash e desleixado.

 A dificuldade com o filme está em aceitar seus absurdos, nunca na forma como esses absurdos são apresentados. Acho que Marshall é, isto sim, um brincalhão dissimulado. Cena a cena, ele frustra deliberadamente nossas expectativas, ciente do tipo de reação (ódio e/ou perplexidade) que vai provocar. Uma bela provocação, um belo filme.