Abbiamo cominciato settimana scorsa una lunga e dolorosa discesa negli inferi delle produzione cinematografiche a soggetto supereroistico. Insomma, i film brutti tratti dai fumetti. Se volete scoprire quanto si può cadere in basso, continuate a leggere e puppatevi un’escalation di terrore dalla posizione numero 12 alla 10. Oddio che ansia.

12 The Punisher, Jonathan Hensleigh, 2004

Qualcuno si ricorda il vecchio film sul Punitore con Dolph Lundgren senza manco il teschio sulla maglia? Dai, quello che in italiano non si sa per quale motivo è uscito con il titolo Il Vendicatore… C’è anche una sequenza dove si vede un telegiornale, un anchorman che parla di tale Vendicatore e dietro di lui c’è una scritta gigante: Punisher… No, per dire l’accurataggine con cui era fatto… Eh? Ve lo ricordate? Eh? Era brutto… Ma questo è peggio. Si prende un altro biondo (Thomas Jane) lo si tinge di nero, gli si mette un teschio sul vestito (almeno quello…) e poi si fa di tutto per rovinare la saga Bentornato, Frank, quella di Ennis e Dillon. E tra un pezzo dei Nickelback e uno del chitarrista degli Evanescence, ce la si fa alla grande. Ad uscirne peggio di tutti è proprio il Punitore, qui snaturato in ogni sua caratteristica, soprattutto – diciamo così – “psicologica”. John Travolta, nella parte del cattivo, è semplicemente deprimente. Per la cronaca l’ultimo film dedicato al personaggio, The Punisher War Zone, massacrato ovunque dalla critica e da noi uscito direttamente in dvd, non è per niente male. Cioè, a confronto sembra un film di Orson Welles e a questo ci straspezza la schiena. Non a caso si è dovuti ripartire da zero… Per farvi capire quante cazzate si possono dire in un film, vediamo come ce li cava a spiegare tutto quello che muove Frank Castle nella sua vendetta cieca e senza fine in soli 32 fottutissimi secondi.

Attore di pregio che qui mette a rischio la sua carriera:
Roy Scheider (R.I.P.)

11 X-Men le origini – Wolverine, Gavin Hood, 2009

Diciamolo subito, hanno fatto un brutto casino con Deadpool. Un bruttissimo casino. Non è nemmeno un film discreto in cui han fatto un bruttissimo casino con Deadpool, oppure un film che raggiunge a mala pena la sufficenza in cui han fatto un bruttissimo casino con Deadpool, no, è un grosso film di merda in cui han fatto un bruttissimo casino con Deadpool. E dire che dietro c’è la penna del romanziere/sceneggiatore de la 25esima ora di Spike Lee. Al famoso monologo di Norton davanti lo specchio andrebbe aggiunto “Fanculo te! Sceneggiatore, produttore, regista di Hollywood che quando si ritrova ad dover fare un film sui Super Eroi, invece di attingere da quelle migliaia di ottime storie, si inventa cazzate dal nulla, rovinandomi la giornata ed il mio megasecchio di popcorn”

Perchè diamine Deadpool assomiglia a Voldemort sotto steroidi con un giochino della settimana enigmistica sul petto? Perchè?

(Girano voci sul fatto che in un probabile Wolverine 2 o spin-off su Deadpool si scoprirà che il pelato di cui sopra non sia in realtà Wide Wilson)

Attore di pregio che qui mette a rischio la sua carriera:
Danny Huston

10 The Spirit, Frank Miller, 2008

La totale e definitiva perdita di credibilità per un uomo che per un certo periodo è stato nei nostri cuori… come dire: la conferma della fine di Frank Miller passa sicuramente attraverso questo film. Dopo essere stato incoronato dal grande Will Eisner come suo successore e custode dei segreti della non arte, Miller è riuscito a scontentare chiunque facendo trasparire per altro anche una certa cattiva fede. In barba a qualsiasi rispetto per la fonte originale, al personaggio The Spirit viene applicato in laboratorio il trattamento Sin City (vi ricordate? Si può fare lo stesso anche a Charlie Brown… ) . Il risultato si commenta da solo. Se già il passaggio da carta stampata a grande schermo era stata non priva di difetti per Marv e compagni, figuriamoci in questo caso. Dopo dieci minuti passa la voglia di vivere anche al più entusiasta degli spettatori e l’idea di una possibile uscita in sala di Sin City 2 e Sin City 3 mette paura. Deligato… Fortunatamente non è piaciuto praticamente a nessuno per cui forse Frank Miller per un po’ la smetterà di essere definito un Autore visionario. Ma ne dubito.

Attore di pregio che qui mette a rischio la sua carriera:
Samuel L. Jackson.

Parte 1: dalla 15 alla 13

Adriano & FEDEmc

Si può uscire dalla crisi se si è perso tutto? Spogliarsi come nella pellicola sui disoccupati di Sheffield non basta più. Ci vuole il servizio completo. Un’altra storia intorno alla famiglia Usa, aggrappata a un filo, molto particolare.

C’era una volta Full Monty, il film rivelazione di Peter Cattaneso, anno 1997, nato come produzione a basso costo, premiato da 4 nomination e un Oscar, ma soprattutto diventato un fenomeno di costume. Raccontava la storia di sei disoccupati inglesi, che nella triste Sheffield, cercavano di uscire dalla crisi più nera. Per far fronte a problemi economici e alla sensazione d’inutilità e frustrazione, tentavano un po’ goffamente l’impresa di allestire uno spettacolo di spogliarello maschile. Chi non ricorda i sei proletari folgorati dallo streap tease, che improvvisano in fila per il sussidio un provino sulle note di Hot Stuff di Donna Summer?

Hung, la serie tv che va in onda stasera su SkyUno è il nuovo Full Monty, ma stavolta si è soli, e non basta spogliarsi. Per affrontare la crisi in età adulta ci vuole il “servizio completo”.

Protagonista di Hung è un uomo maturo, divorziato, in rotta con il lavoro e con sé stesso. Per la precisione, Ray Dracker (interpretato da Thomas Jane) è un’ex-promessa del basket abbandonato dalla moglie, senza una casa, che ha perso l’affidamento dei figli, ed è insoddisfatto del proprio lavoro che consiste nel fare sottopagato l’allenatore di una squadra di college a Detroit. Un disperato quindi, ma Ray è anche bello e superdotato, appunto hung, parola col doppio significato di appeso, come Ray rispetto alla sua vita.

Il sottotitolo recita «It’s hard to make an indecent living»: è difficile condurre una vita indecente. E infatti la vita di Ray è un bollettino di guerra. C’è poco da ridere se si pensa a un insegnante di ginnastica in bancarotta che si dà alla prostituzione, ma ci si prova. Ray finisce nel più classico dei corsi motivazionali che promettono il successo e l’affermazione professionale in tempi rapidi, «Tira fuori l’imprenditore che c’è in te» recita il panel. Una suggestione che si rivela efficace, anche grazie a una sua ex Tanya (Jane Adams), incontrata allo stesso seminario. E proprio Tanya che gli aveva rimproverato di avere più cm che neuroni, sarà la sua manager.
Anche nelle note stampa, la svolta viene descritta con un linguaggio che ricorda lo storytelling aggressivo e deciso dei manager che leggono Sun Tzu: «Ray resolves to take advantage of his greatest asset, in hopes of changing his fortunes in a big way».

Hung viene prodotto dalla Hbo, che già con Six feet under e i Soprano ha affrontato la crisi della famiglia americana e dei suoi pilastri. Hung sembra il rovescio della libertà di Sex and the city e chissà se ripeterà lo stesso epocale successo. Per ora la serie in Usa è andata molto bene. «Una serie tv con le palle» ha scritto Mattia Nicoletti sul sito Moob, uno degli osservatori più interessanti sulle serie tv: «la storia di un uomo al limite costretto a compiere gesti che non avrebbe mai compiuto per rimanere a galla e attaccato anche se per un filo alla famiglia». Una storia di sopravvivenza e di cambiamento «nell’Obama post Madoff», quando i talenti tradizionali non funzionano più.

Years ago, as a student at Detroit’s West Lakefield High School, Ray Drecker (Thomas Jane) was athletic, popular and destined for success. Today, as a West Lakefield teacher and coach of the varsity basketball team, which is on an unprecedented losing streak, he’s underpaid, uninsured and embittered that his wife of 20 years Jessica (Anne Heche) left him for her dermatologist, Ronnie Haxon (Eddie Jemison). After fire damages the rundown lakeside home he inherited from his parents, Ray’s fortunes reach an all-time low when his twin children Darby (Sianoa Smit-McPhee) and Damon (Charlie Saxton), who have been living with him, move in with their mom and her smug husband. Lonely, run down and at wit’s end, Ray attends a self-help class, where the mantra is to identify a personal “winning tool” to market for financial success. After a not-so-fulfilling encounter with fellow attendee Tanya Skagle (Jane Adams), a would-be poet, Ray has a “eureka” moment. With the help of Tanya, the well-endowed Ray sets out to exploit his greatest asset in hopes of changing his fortunes. Even if it means using the one thing life hasn’t taken from Ray – his large penis. Becoming a male escort however is easier said than done. First and foremost, finding potential clients is no small task. He can’t post a picture of anything above his waist and being charming isn’t exactly his forte.

Episode 01: Pilot
Boring. I was about to fall into sleep during the 43 minutes. A story is missing, characters are missing (Ray is too much of a problem character and Tanya was just boring) and I didn’t like it really much. Sure, Thomas Jane seems to be a good actor and Anne Heche didn’t even have much screentime to wow me, but this was kind of nothing.
First: What is the genre? Comedy or drama? It is not even dramedy, but it is a mixture between comedy and drama. An I think the writers should choose very soon, before the show really gets boring. One whole episode got wasted for the introduction of Ray trying to sell himself as a manwhore – wasn’t it possible to tell the story a bit faster? And a bit more interesting?
An example: The scene where Ray told Floyd (Steve Hytner) and the class about his big dick being his tool – the scene lost all his meaning, when it was revealed he didn’t even say it – three minutes a waste of time. And the flashbacks were partly a waste of time, too, because I didn’t see any meanings in the scene, where Ray asked his ex-wife for money (except introducing his ex-wife and giving Anne Heche screentime).
Hopefully it gets better. Quality is there, the possibilities for being a good series are there, but I don’t see the meaning in this show… 4/10

Episode 02: ‘Great Sausage’ or ‘Can I Call You Dick?’
This episode was better than the first one. Barely boring, good story, but I still can’t start to like the characters – they are not interesting enough, like the series itself. The story isn’t really interesting and the characters are still boring. Especially Ray; I don’t know what to make of him. Either Thomas Jane is miscast or his character is badly written. At least the pimp story got a bit forward, even though the story really can be a bit faster, because the rest just feels like a filler (especially Ray’s problems as a teacher and basketball trainer). As well as the story with Ray’s kids and ex-wife. Nice that there is an ongoing story with them and their wish to live with their father, but I totally don’t care about that. And this is kind of the reason, why I still don’t get that show. 6/10

Episode 03: ‘Strange Friends’ or ‘The Truth Is, You’re Sexy’
Well, it was a good episode, even though nothing happened. Ray pisses in his lake and gets a visit by the police; Tanya tries to get Ray’s wallet back, after it was stolen by Lenore (Rebecca Creskoff) after the “I fucked the bitch for free” (the scene in front of Tanya’s house was very good and shows a great chemistry between the two stars) – but the rest was pretty uninteresting. Jessica just stole time of the story – what does a half dead dog have any interest for any of the characters?
I need definitely more story in this series. 7/10

Episode 04: The Pickle Jar
A good episode, slowly I start to like the series and the characters. The story wasn’t really interesting, because almost nothing happened. Ray is still about to question his new job and finally gets himself some answers at the end, which was very nice (character development wise), but full of cliches.
Nice to see Ray’s kids in a story. Darby with boyfriend troubles and Damon is standing in for her – very interesting scene. I just need more from Anne Heche or her role is seriously underworked – She needs her own story, or she gets boring very fast, which I definitely won’t like.
But it gets better… 7,5/10

Episode 05: Do It, Monkey
Well, the series could have made it with this episode, because I liked it. Ray’s first regular-then-non-regular was pretty interesting and I needed six minutes to understand all of this. I just couldn’t really understand the female dream thing and why would a woman pay three times for the same story with a happiness consultant…
The side plot with Jessica and the kids was barely interesting though. Okay, Ron has money problems, her sick dog is dying (I already forgot that story, and it is coming back like my past… Argh, at least the dog is dead now) and the kids don’t have a stand-alone story. Maybe the series would work better in a 60-minute format. 7,5/10

Episode 06: ‘Doris Is Dead’ or ‘Are We Rich or Are We Poor?’
Best episode so far. And it looks like the series got to a point I wanted it to be: not too funny, a serious story, simple characters and everybody is involved in the story and finally Anne Heche with more screentime and even an own story (when the writers concentrate on the money deal with Ron’s money problems.
Ray’s story with Jemma (Natalie Zea) is awesome. Not only is she an interesting character, but the deal with her is something between super hilarious and funny and the possibility of an ongoing love story for Ray, especially after Jemma learned (almost) everything about him and was the good luck charm for his basketball team. And it is good to see Tanya bonding with Jessica now, at least in this way the story involves. Maybe there is not much time,
until Jessica meets “Randall”, now she knows Leonore and Tanya. 8,5/10

Episode 07: ‘The Rita Flower’ or ‘The Indelible Stench’
More drama would be good. The ending of the episode showed that the serious part of the show is working way better than the comical part. Apart from that it was a good episode with likable storylines. I sure don’t know what to make of Pierce (Joshua Leonard) as the new relationship for Tanya – is it a one-episode thing? Is it an ongoing story? I sure hope it is the first one, because Pierce is a shitty character and not really likable at this point. And I don’t know why the writers bring Floyd back all the time. I am forgetting him all the time, I thought we moved on, but they want to give Tanya more problems with this guy… Please, can he be gone for good now?
Funny was Ray’s day with his neighbor MILF Yael (Alanna Ubach). Not only was she out to fuck him from the start, but she was really funny, together with her screaming – yeah, I was smiling during this scene.
By the way: His story with Jemma has to end sometimes, because when he is out for a love story with one of his clients, than the main story of the series stands still and we don’t want that, right? 7/10

Episode 08: ‘Thith Ith a Prothetic’ or ‘You Cum Just Right’
An average episode with interesting development in Ray’s case, but again with the question of what has Anne Heche to do in this series? She has barely screentime, and when she got a story, it is more than uninteresting. The same with Ray’s kids, they definitely need a storyline of their own to keep them interesting. At least Ray is now an interesting character (which I couldn’t say at the beginning) and his chemistry with Tanya is now really awesome, especially at the end of the episode.
The writers brought Lenore back, very good. I have the feeling she will be necessary in the last episodes. And the writers ended the story with Jemma, and they even have a proper conclusion why she played with Ray that way, very interesting, too. Now the story can try to develop again, and hopefully it will, because it kind of still stands still.
I don’t know what to make of the little rivalry plot with Ray and his old mate – it brought nothing, except a little bit of past. And I don’t think there is more coming to that. Well… 6,5/10

Episode 09: ‘This Is America’ or ‘Fifty Bucks’
Yeah, a good episode, even though it didn’t feel like the episode before the season finale, but that’s the case for all the HBO shows, they never have real highlights. The story still feels like stuck in between all the characters and not moving forward an inch. So, this episode Ray and Lenore discussed about raising the price for Ray, while Tanya is out to lower the price – nice that both of them are talking so much during that time, I thought Tanya was Ray’s best friend right now.
And finally Ray’s kids and Jessica getting a bit of an own story now. Damon is gay (well, when that’s not a stereotype story, what is?) and Jessica befriends with Lenore, for what reason so ever. That episode had the most screentime for Jessica ever, it felt like she had more screentime than all the other episodes combined.
It is nice to see that the writers don’t lose any story; Patty (Lauren Weedman) is still a topic in this episode (but I missed the rivalry story from last episode, I knew there wasn’t more coming to that). And the sex scene between Ray and Lenore was really hot, whuhu. 7,5/10

Episode 10: ‘A Dick and a Dream’ or ‘Fight the Honey’
Pretty boring season finale, but this is the case of all HBO shows (lol). But I liked it for what it was: a chance of a new story in the second season. Ray loses his job and partners up with Lenore (she probably will be one of the main characters next season), Ray’s kids have relationship trouble, Jessica wants to break up with Ron, or Ron makes it easier for her and fucks with his patients, and Tanya has a midlife crisis. Could be interesting in the second season, could not be, I will surprise myself.
I don’t know what to make of the phone conversation of Ray and Jessica. Not only was it a predictable story that Jessica (probably) will meet Ray while doing his “job”, but I think the first season finale was too early for that. Sure, they didn’t meet, but I still think the writers didn’t have to bring that story now.
And I surely don’t know what to make of the very last scene. Great, Tanya kills a fly… I don’t think she wins self-confidence with that, because her midlife crisis story seems more interesting than her winning control over her business again. 7/10

Season average is 6,85. The series definitely has something, but the season start was lame, which pulls the overview down a lot. At least I started to like the characters, and when the writers manage to pull off some interesting stories in the second season, then Hung could be one of my favorite series. But for now it is just something for the side and no must-see TV.

Frank Darabont has the hots for Stephen King. He is a consummate Stephen King director. He’s done the most by far when it comes to adaptations, and he seems to not only understand, but actively love the material he’s using. Today’s film, The Mist, is his third King film he’s adapted, and I think he’s starting to get better with it each time he does it. As the world knows, I wasn’t a huge fan of The Shawshank Redemption (GASP!) and The Green Mile was a little sappy for my tastes. So this time, apparently, Darabont got my memo and stopped making the easy King movies. The Mist is a difficult undertaking, and it’s primarily because the limits are only the imagination of the director. Fortunately for us, Darabont has a reasonably good head on his shoulders, because The Mist is both imaginative and provocative, with enough of that King allure and deep mystery to keep you guessing and afraid until the very end.

It all happens in Maine (Again; GASP!). A father named David Drayton and his son have to go to the local grocery store to pick up some things after a big storm. It’s a bit dangerous because of a thick fog moving in, but they make it there just fine. In the grocery store there are a few of the local residents, as well as a few soldiers. David doesn’t think anything of it really, and continues on with his day, until some police show up outside in the thick fog. There is an obvious violent confrontation between them and something they cannot see, and as quickly as it begins, the scuffle ends eerily and silently. Everyone in the store is confused momentarily, until a frightened townsperson comes barreling through the parking lot begging to be let in. They lock the door behind him, and he tells them that something’s out there, and it tried to attack him. People begin to form their own opinions about what happened, and as the mist rolls closer and harder onto the store, they begin to wonder  just what is happening, if anyone is going to help them, or if there is even anyone alive to help them. Paranoia grip the denizens of Podunk, Maine, and heads clash on how they will best survive the crisis, and it seems for a while that the greatest danger David and his son might face will be from those around them. But a terrifying mission to switch on the generator will reveal an awful truth; that there is something IN the mist, something not of this earth…

What an amazing atmosphere… The Mist has that timeless element that all horror classics have right from the get-go. Unlike most horror films, though, it keeps its cerebral grip on you throughout most of the film due to the varying nature of the threat. We don’t know all that lies in the mist; there are oddities that defy all logic there, and we’re never sure to what degree these creatures can even threaten the people inside. There are unexplained massive tentacles, larger-than-life insects, and other unspeakable things that lie within, but at first it seems like they might not venture too close to the window-panes that make up the front of the store. But the nature of the mist is elusive, and perhaps there is something larger and more sinister waiting to pounce on them in their huddled vulnerability.

And not everyone is living peacefully in the store, either. Frank Darabont really capitalized on the awesome dynamic within the store that King envisioned. There are your average folks, like our hero David Drayton, but there are also backwoods yokels, naysaying skeptics, hotheaded bullies, and a particularly dangerous religious fanatic that divides the townsfolk with her use of Old Testament fear-mongering and firebranding that is scary on a number of levels. You start to see lines being drawn between people when they should be thinking about the outside threat, and that is another layer of tension that is wonderfully effective in this instance.

A stellar cast inhabits this tiny little Maine shopping center. Thomas Jane should be credited as the necessary good in a sea of mistrust and mayhem, David Drayton. He is such a strong lead that it makes me instantly forget his yucky turn in The Punisher. I liken him to the Henry Fonda character in 12 Angry Men; he’s strong, he’s courageous, and he rocks some washboard abs. Good job, Jane, especially in the finale. Laurie Holden is Amanda, the sweet and caring girl who would be Jane’s love interest (only Drayton is A MARRIED MAN!). She’s okay, but they really don’t ask her to do much. She’s not that big of a deal as far as presence goes, but I wouldn’t say she was awful. The real star here is Marcia Gay Harden, who plays religious fanatic Ms. Carmody. She is such an evil and self-righteous chick that I wanted to punch her through the screen. Not only is religious sanctimony my NUMBER ONE pet peeve (more like my personal nightmare), but I also hate this character’s insistent rudeness. This woman is a downright monster, and I thought her to be just a tiny bit worse than some of the monsters in the mist. harden does an excellent job in a definite performance to watch. The fervor in her eyes is as good as real, and you get the sense that it even gets to her as an actor at some points.

It’s not perfect; there are quite a few “how is everybody doing?” scenes where we have to do a lot of banal check-ins with everyone’s current condition and their unique pasts. Which would be fine, if this wasn’t set in Maine, where interesting stuff is hard to come by without a mysterious mist rolling in. And some of the characters, like Drayton’s generic kid, were a little half-baked and boring. But I liked The Mist a lot. It’s been done before, but never with so much imagination behind it. Many scenes feel electric with a frenetic energy that is synonymous with the new, with the unexplored, with the unknown. And there is a lot we don’t know about The Mist. If you like movies that are willing to challenge you, or movies that aren’t afraid to hit home with you, this will be one for you. But if not, I wouldn’t recommend it; at least, for your sake, turn it off 15 minutes before the end, because the last scene is one that you won’t ever forget. I give The Mist 8 1/2 Mainian (?) grocery stores out of 10!

Tomorrow I’ll check in with Hellraiser! Until then!

NOTA : 8 RECOMANDAT

Download subtitrare Dark country

Trailer Dark country :

The Mist (The Mist) è un film horror del 2007 diretto da Frank Darabont.
Scritto e prodotto dallo stesso Darabont, la pellicola è la trasposizione cinematografica del racconto di Stephen King La nebbia, contenuto nella raccolta Scheletri.

Leggi altre notizie su: | Horror | Frank Darabont | Stephen King | Thomas Jane | Laurie Holden | Toby Jones | William Sadler

Size matters. We might as well just admit that. Granted, it’s not the be all and end all, and the motion of the ocean is just as important, but when there’s something large and lunar commanding the tide, it certainly makes a difference. But fear not, intrigued yet somewhat alienated male readership, because while being very well equipped may sound spiffy, it’s certainly no guarantee for success. At least not according to HBO’s new prime-time show, Hung.

Starring Thomas Jane in the, eh, eponymous role, Hung is based on the misfortunes of Ray Drecker, a high school basketball coach whose life takes one wrong turn after another. From his heyday as a college sports star, he now finds himself living in a tent outside the fire-damaged house he grew up in. Middle age has brought a dead-end teaching job, financial ruin, and divorce in the form of runaway wife Anne Heche (I hear she methods). When Drecker loses custody of his oddball teenage twins, he’s forced to consider his options. Luckily for the plot, Ray is hung like a pair of Persian curtains, and just about desperate enough to try and make use of the fact. Reinventing himself as a male prostitute, he and ex-lover Tanya form a business relationship, intent to make their fortunes as ‘happiness consultants’, by marketing his particular talents to the lonely and unsatisfied women of Detroit, Michigan.

It may sound like a recipe for a Rob Schneider film, but bear in mind this is HBO. Provocative quirk is a prerequisite, but rarely at the cost of an intelligent production. Thomas Jane is excellently cast, not least because he looks as if he may actually be a bit V. to the W. E., but he also brings a big guy, dufus vulnerability to the role, making it near impossible for the audience not to root for him. This down to earth underdog is perfectly counter-pointed by Tanya, the complicated poet-cum-pimp in Laura Ashley floral print. The mismatched energy between the two drives the understated imagination of the show, as Ray begins an odyssey from average joe to gigolo, par excellence.

There’s not a shiny shirt in sight however, nor a sleazy jacuzzi party where suggestible 19 year olds brandish their cocaine be-speckled thighs as flotation devices. Ray and Tanya’s fledgling enterprise actually looks more like a cottage industry, set against the bland and rusting industry of Detroit’s faltering economy. Ray still makes it to school every morning to teach first period history, he still cooks for his kids on the barbeque, and delivers inspirational speeches to the basketball team he coaches. At the end of the day, and like the show itself, he’s an all American kind of guy.

What Hung depicts then, is a very American kind of crisis. Longing for an idealized past, whether personal or historical, the characters are left to deal with the realities of contemporary economic and social fallout, where the materialism of their middle class lives is no longer self-justifying. Disillusioned with the life left out for him, Ray is a new kind of frontiers-man, facing into America’s mid life crisis with the gritty determination to survive and prosper. This is a man willing to pull himself up by more than just his bootstraps.

Even though the premise may seem slightly ludicrous, the show’s clever enough to bring the audience in on the joke from the beginning. Hung is above all accessible, and refuses to take the condescending or didactic tones that have become so prevalent in American TV drama (take note, Wisteria Lane). There’s nothing breathtakingly original perhaps, particularly not in terms of exposition and narrative technique, but Hung overcomes this by being full of heart, with an endearing streak that will have you coming back for more. Crucially, for a show about an anti-hero with his life in the toilet, Hung is refreshingly jocular. With such mirth to match its girth, Hung is about as much fun as you can have without a slow drive through a dark park.

Hung shows on 3e, Mondays at 11.30.

(This article originally appeared on the Totally Dublin Website as the Telly Thursday Feature, November ‘09. Words Padraig Moran (c) 2009)

October 6th, 2009 saw two very momentous occasions.  Firstly, and most importantly, it was my birthday.  Secondly, Thomas Jane’s first feature directorial effort (he’s listed as having directed Jonni Nitro, but even I’m clueless as to what that is) Dark Country was released on DVD.  Our own Rob Hunter listed the film as a rental in his DVD recommendations but that didn’t stop me from heading out and purchasing it.  Then, in a bit of good fortune, I promptly tossed it on the “to watch” pile and forgot about it for three weeks.  I say good fortune because not watching the standard, 2D version of the film allowed me to walk into a small, one of a kind screening in late October, the first ever Annual Halloween screening of the film – in glorious 3 dimensions.  So my first experience with the film would be as intended – in a theater, with the full effect of the 3D, not on some TV with a flat picture.

Cut to late October and I’m settled in at a Halloween screening, complete with decorations and, no joke, a string trio playing along.  The film is introduced by Tom Jane and some characters in face paint as he takes a very Crypt Keeper like approach to the night, complete with “gaping chest wound” t-shirt and flashlights.  After a brief intro, the glasses go on and the film comes up.

Dark Country is a Twilight Zone-esque thriller that follows a newly-wed couple Dick (Tom Jane) and Gina (Lauren German) as they drive out of Las Vegas in a vintage car, heading deep into the dark desert country with some steamy love between them and plenty of questions between them.  In the dark night on the empty roads, things quickly go south when they come across a car wreck and a badly injured man in the road.  Attempting to do the right thing, they load his bloody, disfigured body into the car and go off in search of a hospital.  As one might expect, soon they’re lost and the bloodyfaced hitchhiker in the back reveals he’s got some murderous secrets of his own.

Walking into a film like this, I often don’t know what to expect or what I’m in store for.  I’m no stranger to lower budget Tom Jane movies, like the not-great Mutant Chronicles or the totally-awesome Give ‘em Hell Malone of late, two different sides of the coin.  One works, the other not as much.  What makes Dark Country both smart and impressive is the budget – under $4million dollars.  For that price, most movies only get the gift bags for their star actors, but Jane and crew get a coherent 3D motion picture up on the screen.  I mention smart because when you’re working with little money, you can’t over extend yourself.  Shooting for a sci-fi epic (a la Mutant Chronicles) you’re probably going to come up short.  But if you’re smart, you find the right story with the right location and $4 million becomes just enough to put out the finished product.  Indeed, when you hear about all the ingredients to this film, that it turns out as well as it did, it’s downright amazing.  Firstly, you have Tom Jane, a hard-working guy taking his first crack at directing who decides to make it even more difficult on himself by jumping right into 3D.  Secondly, toss in a low budget, the untested 3D technology, brand new (aka untested) equipment, night shoots, a short 25 day shooting schedule and the freaking New Mexican desert.  The cards were seemingly stacked against the production, that was mired with freezing cold nights and equipment that didn’t always want to work correctly. In one story relayed by Jane after the film, a fancy shmancy piece of equipment meant to raise and lower the 3D camera malfunctioned, stopping production.  One for practical solutions, they replaced the machine with the simplest of tools – the human hand – then set the camera onto the road and let the car drive harmlessly over it.  That’s how you stretch a budget.

About the movie itself – overall, I liked it.  The film is by no means perfect and, personally, started off on the wrong foot for me.  I wasn’t engaged in the first few minutes and was beginning to fear a long ride into mediocrity.  Luckily, once Dick and Gina had moved into the car, the story quickly shifted gears, sunk in its hooks, and managed to be an enjoyable ride through the dark country.  Not until writing down their names (Dick and Gina) did I realize that their names are in fact Dick and (va)Gina.  I don’t say this in jest, but perhaps this was a very intentional choice to have them symbolize masculine and feminine sex.  Perhaps a wayward thought – until you see the steamy scene in the car.  Then the theory gains about a metric ton of weight behind it.  We’ve seen terrible sex scenes in cars, like in The Chase when two people somehow engage in coitus while in the middle of a high speed car chase without crashing.  The scene in Dark Country is not Dick in Gina (haha, I crack myself) sex, but it is one of the most effective and exciting sexual scenes I’ve seen on film in years.  That is the moment when the film really has you and from then on in, it was a far better experience than the first minutes indicated.

dark-country-7Plot wise, the story has that Twilight Zone esque twist you know is coming from the very start.  Many of you will probably be able to predict it correctly, but that said, it’s not a deal breaker.  I’m a huge fan of The Twilight Zone and even when you know what’s coming, it’s still a fine drive to the finish.

The biggest divider of people who see this movie is going to be style.  It’s a love it or leave it type deal, that most likely works far better in 3D than in 2D.  Make no mistake, the look of the film is very intentional.  Both Jane and Tim Bradstreet (famed artist, Dark Country unofficial production designer and Raw Studios honcho) talked at length about the look of the film, describing it as “intended for a comic book audience.”  This is an accurate way to describe much of the film, from the color palate to the angles.  Color wise, the film is silvery, channeling in bits of noir and vintage film, while in shot selection, Jane proves himself to be visually very deft with the camera.  Certain angles (namely a low angle looking at Bloodyface and out the back of the rear window of the car) are rarely seen in movies, at least in my experience, but are fairly common in graphic novels.

There was a lot of attention paid to the sky with almost every scene having a brilliant, colorful night sky composited in.  The photography was taken especially for the film by one of the nation’s only 3D nightsky photographers (a very limited position, one assumes), who spent days up in the hills taking shots of the night sky.  To call the images breath-taking is an understatement, though some may be unable or unwilling to look past the fact that it’s a stylized nightsky, the kind you’d never see with the naked eye.  I say, when you’re dealing with a stylized film, let’s do it – go all out.  The sky worked for me.

dark-country-9Now, I haven’t fully watched the 2D version of the film, but from what I have seen the 3D element makes the entire picture look better.  The compositing (green-screening), which is one of the main criticisms of the 2D version, looks far better in three dimensions than it does in two.  Dark Country is also one of the first films to fully utilize 3D for image depth rather than gimmicks.  In the entirety of the movie there are only two “gimmick” 3D shots, with everything else being about the expansion of the image rather than making you giggle.  I have long championed the return of 3D as a valuable and viable tool for creating image depth rather than jump scares. (I saw my first RealD live action movie in 2006 and have supported the technology ever since)  Dark Country goes miles down the road in proving that 3D is here and it isn’t a joke or a toy for a kid’s movie.  For any photographers out there, you understand the real magic of photography is in the depth of field and focal lengths and 3D technology opens an entirely new window.

I would be remiss in not talking briefly about the acting, but I do want to keep it brief as I’ve gone on for some time now.  Tom Jane has always been an effective actor, whether it’s in comedy or drama or Punishing, but lately it seems that his game is fully realized.  Mainstream critics have come around to him and praise his performance in Hung, telling us what we already knew – the guy is good.  In Country, he plays a more dramatic role and nails a wide variety of emotions.  I feel like he turns in a fantastic performance here.  Lauren German is also good, though after her ice-cube-masturbation scene (there, I said it) she could sit there with a blank expression on her face the rest of the time and I’d still praise her performance.  Ron Perlman appears late in the game and he’s Ron Perlman – nuff said.

In conclusion, Dark Country is not a perfect film, but it’s a much better film in 3D.  The story isn’t groundbreaking and again I’ll mention The Twilight Zone, but the acting is top notch from Jane, the style of the film is very much grounded in the comic world, and several scenes are over the top awesome.  If nothing else, Jane has proven two things: The guy can direct and 3D is awesome.  As I’m sure many of you are fans of Jane, Bradstreet, and Raw Studios (hey, we’re all nerds here), be on the lookout of “Raw Cola” early in the film.

During the Q&A after the film, Jane and Bradstreet mentioned a desire and intent to tour several cities with the film and show it in 3D. Hopefully this gets off the ground and gives people more opportunities to see the film the way it was meant to be.  If we’re lucky in LA, they’ll also keep that “Annual” promise and continue to show the film every Halloween.

Final words?  Definitely worth checking out in 3D.

Ever had that vein in your forehead swell as you look, in frustration, at the hundreds of titles at your local video store? Ever been filled with mass confusion or paranoia that your hard earned bucks may be spent on yet another title starring Michael Dudikoff or Shannen Doherty? Well this little article is here to save you from that extra strain.

Over the course of this week, we will uncover twenty titles you need to seek out at your local DVD store. 

I have suggested range in all sorts of categories and will appeal to a large assortment of movie fans. The unique things about all these films is that they are limited or non theatrical releases and were probably abandoned by some studio head who didn’t believe in the project. When viewing these twenty films remember there must have been a reason to be released just to video and that they aren’t Academy Award winning films. I personally enjoyed each and every one of them on some level or another. Write me and let me know if there is a classic direct to video flick you really enjoy.

The list is laid out something like this. The title, year it was made, genre, synopsis and finally my rating. I hope to do more of these lists as I uncover some of the treasures hidden at the local videostore.

20. 61* (2001-TV) (Drama)

Roger Maris (Barry Pepper) and Mickey Mantle (Thomas Jane) race to break Babe Ruth’s single-season home run record.

This Billy Crystal directed film is one of the most delightful and pleasant surprises to come to the silver screen about the sport of baseball. You can really tell that when they made this film the people behind it loved the game of baseball.

The attention to detail and historical accuracy is very rewarding as Crystal gets two incredible performances out of the film’s stars Pepper and Jane. HBO has done it again. (4 of 5)

19. Beast, The (1988) (Action-Drama)

During the war in Afghanistan a Soviet tank crew commanded by a tyrannical officer find themselves lost and in a struggle against a band of Mujahadeen guerrillas in the mountains.

This little “tank” film is an incredible look at the struggle between the Russians and the Afghans. The performances from lead actors Steven Bauer and Jason Patric are filled with passion and frustration as the director brings you deep inside what is going on their minds. Think “Das Boot” in the desert.

Special note: This movie is really hard to find! If you find it message me! (4 of 5)

18. Chase, The (1994) (Action-Comedy)

Jack Hammond (Charlie Sheen) is sentenced to life in prison, but manages to get away from the police as he takes a girl (Kristy Swanson) hostage and drives off in her car.

The girl happens to be the only daughter of one of the richest men in the state. A chaotic chase begins which is filled with comedy, stunts and excitement.

“The Chase” reminded me a lot of those old “Smokey and the Bandit” films with a modern twist. The chemistry between Sheen and Swanson is superb, as the script and director don’t sway away from comedic elements.

The comedy is the real gem in this piece. (4 of 5)

17. Cutting Edge (1992) (Comedy)

DB Sweeney stars as Doug Dorsey, a hockey player forced to retire after an injury.

His only way back onto the ice seems to be to assist Kate (Moira Kelley), a spoiled brat figure skater who is trying to fulfill her dream of winning Olympic gold.

If Doug plays his cards right he might just get the gold medal that eluded him in hockey.

“Cutting Edge” is quirky, hilarious and is a pure delight. The film proves when you have two leads that have magical chemistry then you have one hell of a movie. (3.5 of 5)

16 . Dark City (1998) (Sci-Fi)

John Murdoch (Rufus Sewell) awakens alone in a strange hotel to find that he has lost his memory and is wanted for a series of bizarre murders.

While trying to piece together his past, he stumbles upon a seedy conspiracy controlled by a group of beings that possess the ability to put people to sleep and alter the city. Now Murdoch must find a way to stop them before they take control of his mind and destroy the very world he knows.

“Dark City” is one of those unique science-fiction films that are so very original you really have no idea what you are getting yourself into. It blends the power of “film noir” with conspiracy-oriented science fiction.

It is almost Kafka-like and really a sight to behold. Also “Dark City” director Alex Proyas (Crow) is one of those gifted visionaries that a lot of people don’t know about. Proyas could be the next Tim Burton if Hollywood would give him a chance. Can’t wait to see what he will do next.

If you can seek out the Blu-Ray version of this film, especially the director’s cut which gives more details on this captivating film.  (4 out of 5)

‘Tis the season! With the end of the decade and Halloween approaching, now’s the best time to torture your soul with the best horror this decade has to offer. Now, please, forgive me. The horror genre, like everything else, is getting blurrier. It’s hard to tell just what exactly is a horror film these days. I attempted to honor the genre, while keeping a clear opinion of what the best are. Enjoy!

10. 30 Days of Night

It was either this or Zombieland. A) You already know and love Zombieland. B) This is a comic site! I have to mention the adaptations when I can. 30 Days of Night could’ve easily been mediocre. An essential part of the book’s success was Templesmith’s art. Having said that, this movie looks pretty damn good. Snow always feels epic. 30 Days of Night is well-acted and well-made. It manages to naturally stretch Niles’ novel, making it, in some ways, better. To those of you who vomit at the sight of sparkly, beautiful teenage vampires, watch 30 Days of Night. These are just about the ugliest vampires ever filmed, and that’s a good thing.

9. Land of the Dead

I would’ve loved to re-watch this one, but I figure I have to get this out before Halloween. Romero’s return wasn’t as earth-shattering as we may have liked, but there’s plenty of merit here. For one thing, Land of the Dead looks great and features actors who can actually act. For another, Romero still manages to scare us with creatures who aren’t all that scary, providing uniquely gory deaths for his decent actors. And what would a Romero Dead flick be without some social commentary? With “Fiddler’s Green,” he managed to capture both the atmosphere of rich nations, who live in luxury while many still live in hell-holes, and of a post-post 9/11 world. While we sit comfortably, discussing American Idol, the evil is still lurking, and, perhaps, evolving.

8. The Mist

Ok, it’s kind of a zombie movie with bugs, but that’s different, right? In fact, thanks to the titular mist, the creatures can be grand and epic, without looking too cheesy. We’ve got some great actors here: Thomas Jane, Marcia Gay Harden, Toby Jones. They help elevate the material. Frank Darabont, the director of The Shawshank Redemption and The Green Mile, completes his King trilogy, and it’s a lot of gruesome fun. This being a comic site, I have to mention Darabont’s Walking Dead TV involvement. If you want to see if he’s right for that adaptation, this movie will give you a clue.

7. 28 Days Later

Again, I would’ve loved to re-watch this. I even rented it, and I will watch it, but I’m a slave to this post. Danny Boyle was a good director before Slumdog Millionaire. I swear he was, and this film is part of the proof. I mentioned in my introduction how the horror genre has gotten blurry. Indeed, this film helped start that, with many rabid fans crying, “These aren’t zombies!” Well, whatever they are, they’re scary as hell. 28 Days Later has many impressive, grim shots of a destroyed London. It has great performances from the then-newcomer Cillian Murphy and the always-fantastic Brendan Gleeson. This may have helped splinter the zombie genre, but at least it’s pretty damn good.

6. Shaun of the Dead

This movie hammered home what George Romero has known since the 70’s: zombies are hilarious! They’re such boring monsters. In this film, we can barely tell them apart from the boring humans, maybe that’s just because they’re British. Shaun of the Dead is hilarious, but it also manages to touch upon the important elements of zombie movies, such as banding together, social commentary, and that wonderful gore.

5. Drag Me to Hell

I don’t want to oversell this, but Drag Me to Hell is arguably Raimi’s best film. We’re back to Evil Dead 2, with the perfect mixture of terror and comedy. Christine isn’t as lovable as Ash. She’s not really meant to be. However, Alison Lohman is a perfect horror heroine. She has the innocent looks and a wonderful scream. Amongst the laughs and gasps, this movie teaches us some very valuable lessons. Never deny an old gypsy! And never dig up a body in the worst storm of the decade!

4. Grindhouse

Yeah, it’s one film, damn it. Funny thing about this being on a “best” list, it’s trying so hard to be bad. That said, this is probably the most enjoyable pick on my list. Ok, so Deathproof isn’t much of a horror film, even though hot girls are getting hunted and slaughtered by a badass Kurt Russell, but Planet Terror is horror all the way, in the vein of a Carpenter flick. You’ve got the babes. You’ve got the gore. You’ve even got the great actors, like Bruce Willis! And if you’re not at least a little scared of testicle harvesting, I don’t know what to tell ya.

3. American Psycho

Finally, a slasher movie where the murders don’t matter, even within the context of the film! Bateman’s murders are an expression of his boredom and vanity. Mary Harron took this material and made it an exploration of male insanity, rather than just Bateman’s. You’ve all seen these guys. They’re on Wall Street. They’re trying to sell you something. They might even be firing you. American Psycho documents masculine squabbles in deliciously, horrific detail. Perhaps, most chilling of all, the film asks, “What if these assholes really are killing, and, with wealth & power, their mess is wiped clean?”

2. Antichrist

I was mugged by God. That was my initial reaction to this film. True of almost every great film, on the first viewing, we’re not really sure what we’ve seen. This movie’s depth is so endless, it threatens to swallow you whole, taunting you to disregard it as Eurotrash. What I am sure of is the bravery of Willem Dafoe and Charlotte Gainsburg, who follow Trier’s insanity to the end. Trier is a madman, as most great directors are, and his images, no matter how shattering to our senses, are fully realized here.

1. Sweeney Todd

The bloodiest musical, Burton’s possible best, and indeed, the greatest horror film of the decade. Burton stays faithful to the original tale, as well as Sondheim’s music. Depp and Carter are dressed like 30’s horror stars, paying homage to both the genre and the original film. I never felt Sondheim’s music should be gloriously sung, no matter how talented Angela Lansbury is. These songs are sad and personal, and though Burton’s cast aren’t singers, they are actors, and they deliver their tunes in the best possible way. You won’t find any prancing or choreography here. Sweeney Todd is a dark, terrifying tragedy that will slash its way into your nightmares as efficiently as Mr. Todd’s razors.

For more comic goodness, go here.

Look. For real. Same dude. Not even twins. Actually the same dude pretending to be different dudes to make more money.

Check it out.

Thomas Jane

Aaron Eckhart

Thomas Jane

Aaron Eckhart

Same. Dude.

Even Google thinks they are the same dude. Google search “Thomas Jane” and “Aaron Eckhart” and this image comes up for both:

Let me know what you thought of that.

Thomas Jane

by Rick Marshall – MTV.com

‘Tis the season for scary movies, so it’s fitting that Thomas Jane’s stylish, noir-fueled horror film “Dark Country” arrives on shelves this week. In his directorial debut, the “Punisher” actor not only makes his first bow behind the camera, but he also stars alongside Lauren German (“Hostel: Part II”) and Ron Perlman (“Hellboy”)—two actors not entirely unfamiliar with fright-friendly cinema.

Combining surreal, David Lynch-style visuals with a pulpy horror tale that would seem at home in old issues of “Tales From The Crypt” or “Creepy,” Jane says comic books weren’t far from his mind when he stepped behind the camera.

“I’ve been reading comic books since I was eight years old, and in comics, anything’s possible,” Jane told MTV News. “They come up with angles that you could never shoot in life, and they really have to work hard to make that two-dimensional space feel three-dimensional, so it’s a fantastic resource for coming up with ideas for shots.”

“I wanted to do something that was unique, and yet also paid homage to filmmakers who had a big impression on me,” said Jane, “like David Lynch, the Coen brothers, Alfred Hitchcock, Stanley Kubrick, but also John Alton, who is a great cinematographer who worked with Anthony Mann on films like ‘Raw Deal’ and ‘He Walked By Night.’”

According to Jane, when it came time to pull double duty on the film, he sought advice from one of the more prominent actor/directors in recent years—and discovered that he was just the latest in a long line of people to receive the same words of wisdom.

Buy this Title Here!

“I called Mel Gibson and he talked to me on the phone for an hour, and said that when he was getting ready to direct and star in his first film, he was nervous and he called Clint Eastwood,” said Jane. “Clint Eastwood talked to Mel for a long time and told Mel that he was really nervous and he called Don Siegel, who had directed Clint in a bunch of movies, and Don told Clint, ‘Don’t sell yourself short. Spend as much time on yourself—your own shots—as you do on every other actor, on every other aspect of production. Be careful, because you’re in the movie you have permission to just do one or two takes on yourself and quickly move on—but you need to spend as much time on yourself for your film to work.’”

“That’s what I took away from my conversation with Mel and I hung up the phone feeling much more confident in my ability to pull this thing off than I did before I’d gotten on the phone,” he explained.

Originally intended as a 3-D theater release, Jane said the film was shot in 3-D but plans were ratcheted back due to the lack of home theater equipment able to present the film in all its multidimensional glory.

“But that equipment is coming, and when it does I certainly hope that we give ‘Dark Country’ a home theatrical 3-D release,” he added.

Lauren German

While it could be a while until the film gets a 3-D premiere in homes, it did receive a screening in line with Jane’s plans this past weekend at Long Beach Comic Con, where “Dark Country” debuted in full 3-D glory in front of a packed house of nearly 400 fans. Jane and comic book artist Tim Bradstreet hosted the screening along with 3-D developer Ray 3D Zone.

And though his 3-D plans for the film involved looking ahead to the future of the medium, Jane said his inspiration for the tone of the film involved more of a rearview-mirror take on filmmaking—especially when it comes to horror movies.

“I wanted to make a movie that was for people who enjoy movies that are off the beaten track, you know?” said Jane. “I wanted to make a movie for fans of cult films, for fans of ‘The Twilight Zone,’ for guys who stayed up late to watch ‘The Outer Limits’ when they were probably too young to do that.”

“It seems like more and more now, people are really losing sight of some of the great, old drive-in films,” he continued. “Quentin Tarantino tried to bring some of that flavor to the ‘Grind House’ stuff and I think that this film very much embodies that spirit—but instead of trying purposely to scratch up the movie and print frames out of it and yellow the film, let’s make this movie as if it’s really exists. And I feel like the feedback’s been really, really rewarding.”

“Dark Country”  stars Thomas Jane, Lauren German and Ron Perlman. The film was directed by Jane, with a script by Tab Murphy.

Amazon Specials!

A newly married couple (Thomas Jane and Lauren German) takes a honeymoon hell-ride through the Nevada desert after hitting a mysterious car crash survivor under a starlit sky. When their injured passenger suddenly turns on them, the couple instinctively fights back with lethal force, and attempts to cover up their crime from the local police. But there’s no escaping fate, and with every move they make the pair only manages to wind ever deeper down a darkened path. Actor Jane makes his directorial debut with this paranormal-tinged thriller also starring Ron Perlman.

Alexander Payne es uno de esos directores que le gusta escribir sus proyectos. No es el único ni el último, desde Spike Lee hasta Jim Jarmusch, Paul Thomas Anderson, Christopher Nolan, Quentin Tarnatino, Robert Rodríguez o el mismo Wes Anderson, esta tendencia divertida los hace especiales en esta camada de realizadores independientes que entienden el poder del guión y la inherencia del escritor en el producto final.

Recuerdo a Payne primero por About Schmidt de 2002 peli que le hice mucha fuerza para que Jack Nicholson se llevara un Oscar ese año, después vino Sideways en 2004 y un amigo me recomendó Election de 1999 porque seguramente me iba a encantar (efectivamente). El último rastro lo tuve en el 2006 cuando de la mano de otros creadores se hizo el collage de Paris, Je t’aime con su segmento 14ème Arrondissement me dejó completamente conmovido (de todos fue el que más me gustó).

En fin, había visto un par de avances en HBO de una nueva serie llamada Hung y  la cual vi el domingo pasado. Pues cuál sería mi sorpresa al descubrir que la había dirigido Payne y que todo el estilo de narración subjetiva y existencialista aparecía de nuevo ante mis ojos.

Al parecer Payne sólo hizo el piloto y después se dedicó a la producción ejecutiva de la serie. Por lo menos ese piloto es muy interesante, esperemos que el resto sea de la misma calidad que el entremés. Nunca me ha convencido demasiado Thomas Jane pero definitivamente Jane Adams la tengo presente desde Happiness de Todd Solondz en 1998.

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It’s Alive(2008) UR
After participating in a series of seemingly safe drug testing experiments, grad student Lenore (Bijou Phillips) endures some horrifying side effects when her new baby turns out to be a natural born killer, leaving a trail of dead in its tiny wake. As the death toll mounts, the doting mom can stay in denial for only so long in this chilling remake of Larry Cohen’s 1974 cult horror hit, also starring James Murray as the proud papa.

Dark Country(2009) R
“Hung” star Thomas Jane directs and stars in this thriller that follows the hellish adventures of a newlywed couple who rescue a wounded stranger on the side of the road on their way back from their Las Vegas nuptials. When the almost-dead man goes berserk on them, the couple’s nightmare is just beginning. Ron Perlman (Hell Boy) and Lauren German also star in this chiller penned by Guerillas in the Mist writer Tab Murphy.

The Seamstress
After vigilantes torture and kill a seamstress, she becomes a horrific spirit, hungry for vengeance — and when a group of young friends are trapped on the island where she died, she comes after them with her razor-sharp needles. But as one of the friends, Allie (Kailin See), searches for her missing father, she learns a terrible truth about him while her friends begin dying one by one. Lance Henriksen co-stars in this gory spine-chiller.

HF Recommends… Unsolved Mysteries: Bizarre Murders (1987) NR
Emmy Award-winning actor Robert Stack hosts this four-disc set of episodes from the TV show “Unsolved Mysteries.” The collection of investigative stories about some of the most infamous murder cases in history features 32 compelling segments, including “Boston Strangler,” “Murdered Heiress,” “Backyard Bones,” “World Leaders,” “Plane Crash Sabotage,” “Bordello Murders,” “Whistle Blown,” “Social Security Murders” and much more.

Thomas Jane (The Punisher, The Mist, Hung) is a Live for Films favourite and I have been following his directorial debut, Dark Country, for a while now (although I have still not had a chance to see it). It is a noir film shot in 3D starring Jane, Ron Perlman, Lauren German and a few others. So the studio decide to release it direct to DVD in 2D! Lack of logic behind that decision makes my brain hurt.

The film stars Jane and Lauren German (Hostel: Part II) as a couple traveling through the desert from Las Vegas to California who come upon a mysterious stranger. After almost killing the stranger, they pick him up and begin their journey into darkness.

Be that as it may, it still sounds very cool and Thomas Jane has been chatting to Bloody Disgusting about the film.

They asked him about the whole look and feel of the film. The way it had a very 50’s kind of feel and whether that had been his intention from the start.

“Definitely something I brought to the picture. I am really inspired by noir film, and by the Twilight Zone… this film felt like an extended Twilight zone episode to me. And then for film noir, particularly the cinematographer John Altman, who worked with Anthony Mann on films like Raw Deal, and He Walked By Night. I wanted to make something very modern, but also timeless, yet very steeped in film noir. I came up with a visual style that was influenced by these things but also something a little unique that I can call my own. Watching the movie, I don’t think you can say that I’m aping anyone else’s style. The type of story that it is dictated the style of the film. And also I’m a big comic book guy, I love graphic novels, I published a couple of my own through my company Raw Studios. I worked with Tim Bradstreet who is a fantastic illustrator in the comic book world – he did all of the Punisher covers – and he was the visual consultant and production designer on Dark Country. And Bernie Wrightson, who is a master horror illustrator, he did the character designs for Bloody-face. So these influences created the style and tone that you see in the film. The muted colors, the crushed blacks, not a lot of mid-tones, almost like a black and white movie. When I developed the script with Tad Murphy, that was the way I wanted to tell the story, with a unique visual structure.”

The fact he got Tim Bradstreet (check out his cool poster for the film) and Bernie Wrightson involved means you know it is going to look amazing. Two very cool comic book artists there.

Then there is the fact he got Hellboy himself involved.

“I’m a friend of Ron’s, and I think he FITS in the genre. The movie is made for people who like this left of center stuff. It’s a very graphic novel oriented film, with influences from film noir, Carnival of Souls, cult movie influences…. this is a movie for people who enjoy that type of stuff, and to me, Ron Perlman is the perfect actor for a movie like this. He’s got a great following, and I’ve been a fan of his for a long time, and we became pals when we did Mutant Chronicles together. So we had a blast, and Ron coming on board… he just fit the story perfectly. Very proud to have him in my first film, and he also helped give me confidence as a director, he’s very easy to work with. A fantastic guy. Damn lucky to have him.”

Head on over to check out the full interview over on BD. He talks about directing himself, his Bad Planet comic and the 3D aspect of the film.

Have you seen the film? If so what did you think of it?

In der amerikanischen Filmgeschichte haben sich Highways einen besonderen Stellenwert erarbeitet. Entweder sind sie der Schauplatz von kuriosen bis tödlichen Begegnungen (z.B. Fear and loathing Las Vegas oder The Hitchhiker) oder der transzendentale Weg zur persönlichen Charakterfindung (Lost Highway). Jedenfalls lassen sie viel Raum zur Interpretation und einem Spiel mit der Angst. Das neuste Machwerk dieser Art Film ist ‘Dark Country’. Story recht einfach: “Pärchen auf Hochzeitsreise überfährt Passanten, muss mit dem Körper zurechtkommen, Hochzeitsreise plötzlich nicht mehr spaßig usw. ” Aber die Art und Weise, wie die Bilder geschossen wurden, lassen ein schönes Film Noir Feeling aufkommen und man kann recht gespannt sein, wie Thomas Jane in seinem ersten Regiewerk (spielt auch eine der Hauptrollen) die Umsetzung des Romans von Tab Murphy gelungen ist.

Einer meiner persönlichen Lieblings-Highwayfilme ist übrigens neben ‘Lost Highway’, der Road Movie, Sci Fi Klassiker ‘Retroactive’ aus dem Jahre 1997. Mit einem genialen Bösewicht, nämlich keinem geringeren als James Belushi in einer, seiner besten Rollen . Echt zu empfehlen.

Aber hier erstmal der Trailer zu ‘Dark Country’:

und hier noch ein Ausschnitt aus dem angesprochenen Klassiker dieses ‘Highway’ Genres: Retroactive (1997)

Dark Country

Y empezamos esta segunda entrega de mini críticas con una buena película de terror, para nada terrorífica pero  bastante misteriosa y entretenida. Lo primero que se me vino a la mente tras ver esta película (aunque antes que terminara ya lo pensaba prácticamente) es que si se hubiera rodado en los años ochenta, hoy día sería un clásico. Dark Country es la primera película dirigida por Thomas Jane (protagonista también de la película) y cuenta la historia de una pareja de recién casados cuya luna de miel se convertirá en un auténtico infierno. Dick (Thomas Jane) viaja en coche de madrugada por el arduo desierto de México con una joven que conoció la noche anterior en Las Vegas y con la que se acabó casando. En muchas películas hemos visto historias parecidas, personas que se conocen una noche en dicha ciudad e inmediatamente  acaban casándose. ¿Suele suceder esto en la realidad? ¡Tendré que irme allí de vacaciones!

En pleno viaje, y tras una escena de lo más erótica, acaban atropellando a un extraño viajero al que casi matan. A partir de ahí, el viaje se les transformará en un autentico infierno. Toda la historia recae en estos dos personajes, en Thomas Jane y en su reciente y preciosa esposa cuyo pasado e intenciones se verán algo turbios.

Dark Country está rodada en pleno desierto de México y con muchas escenas digitalizadas al estilo 300 o Sin City. Estos efectos, en plena noche y con una trama de lo más misteriosa, hacen que la película sea un continuo misterio y te veas envuelto en una gran intriga.

La película nos recuerda a uno de aquellos míticos episodios de Cuentos Asombrosos. Esa exitosa serie de televisión dirigida por Steven Spielberg en los años ochenta ¿la recuerdan?

Recomendada queda, Dark Country. Espero que sea de vuestro agrado.

Siempre a tu lado, Hachiko

Conmovedora esta última película de Richard Gere. Este tipo de películas me pueden e irremediablemente acabo soltando un puñado de lágrimas. Se la recomiendo a todos, sea cuales sean sus gustos cinematográficos, es igual, esta película debe ser visionada por todos. Una historia que enseña la fidelidad, nobleza y sobre todo la lealtad. Remake de la película japonesa Hachiko Monogatari, dirigida en 1987 por Seijirô Kôyama y basada en una historia real, narra la historia de un profesor de universidad que acoge a un perro vagabundo que se encuentra en una estación de trenes.  El profesor (Richard Gere) se documenta sobre la raza del perro, que resulta ser un can japonés conocido como Hachiko, cuyo mismo nombre le otorga al ya acogido perro. Es tal el cariño que se tienen mutuamente, y tan fuerte los lazos que los unen que Hachiko nunca se separa del profesor. Todos los días Hachiko, acompaña y recoge al profesor de la estación dónde coge el tren para dirigirse al trabajo. Un día, algo trágico sucede y la vida da un vuelco rotundo.

Para los que ya hayan visto la película, o mejor dicho, para todos aquellos gaditanos que hayan visto esta película, les será inevitable recordar la emotiva historia de Canelo. ¿Os acordáis? Aquel perro que estuvo durante una década en las escaleras del hospital de Cádiz esperando la salida de su dueño que murió años atrás.

Vean esta película por favor. Es una autentica maravilla.

The Box

Que  poco me gusta Cameron Díaz, es más, me parece una actriz mediocre y extremadamente sobrevalorada. Pero esto es una opinión personal  y centrémonos en la película en sí, que tampoco es que sea de mi agrado. Del director de Donnie Darko, Richard Kelly, nos situamos en los años setenta. Vemos la tranquila y feliz vida de Norma Lewis (C.Díaz) una preciosa profesora de colegio privado que vive felizmente casada con su marido Arthur (James Marsden), ingeniero de la NASA con el cual tiene un hijo, Walter, de nueve años.  La tranquilidad se perturba con la llegada a la casa de un extraño personaje, con la cara desfigurada y que cambiara la vida del matrimonio por completo.  Este extraño personaje, le entrega a Norma una  misteriosa caja y le hace una propuesta de lo más difícil. Tienen veinticuatro horas para decidir si pulsar el botón de la caja o no. Si lo pulsan, ganan un millón de dólares y…una persona muere. Decidan lo que decidan, desencadenarán una serie de terribles desgracias.

La película es difícil de entender ya que de por sí el argumento es complicado y engorroso y además, le meten momentos completamente inexplicables e innecesarios. El espectador se sumerge en un autentico dilema moral envuelto en una esfera de ciencia ficción en un ambiente de lo más enrevesado que roza lo ridículo, absurdo y aburrido. No la recomiendo en absoluto.

DOGHOUSE

Si con Death Snow, película de la que ya hablé en Invernalia y podréis leer en este enlace, tuve que ponerme en pie y aplaudir, con Doghouse, hice lo mismo. ¿Quién dijo que el género  zombi estaba acabado? Doghouse es una alocada comedia ambientada en un lejano y desierto pueblo llamado Moodley donde la presencia femenina es mayoritaria. Así que es allí donde unos amigos quieren celebrar una fiesta para Vince (Stephen Graham), que acaba de divorciarse. Contratan un microbús conducido por una atractiva chica que los lleva hacia el pueblo. Una vez allí, las pueblerinas, no son lo que ellos esperaban, adorables mujeres dispuestas a tener sexo, no, todo lo contrario, se topan con una legión de féminas sedientas de sangre. Bien hecha, con momentos increíblemente divertidos, diálogos muy trabajados y unos personajes carismáticos, muy distintos unos de otros y que aportan momentos gloriosos.  Recomendada a todos aquellos seguidores de este género cinematográfico.

Un abrazo.

Álvaro R.

I opted to skip NDTD yesterday in order to give a little more blog time to my kick-ass contributors Jerry and Erin, because their reviews were both so fun. Also, I’m lazy! Everybody wins!

I figured I hadn’t done a RDWD in some time, so let’s run with one today, okay folks?

I was talking to a friend about The Mist the other day and how I found myself so pleasantly surprised upon my first viewing. I realized, “Why the hell have I not preached this Misty gospel to that hungry congregation that is the world wide web?!” No one truly understands The Mist, no one believes me until they’ve seen it. I know, I know, most Stephen King movies aren’t particularly hard-core. Or, you know, good. Spoken by a true Stephen King fan, still I repeat: the movies? They suck.*

*this obviously does not apply to The Shining, Shawshank Redemption or Misery. All of which premiered 20-30 years ago, so move on.

Guys, The Mist will KICK YOUR ASS. This is no candy-assed Hollywood happy-ending film. It’s serious business! Based on the Stephen King novella of the same name (I just discovered this; I was so certain King had just written the screenplay and it was not based on a story of his. Shows how much I know.), The Mist is taut and gory, a real big-budget monster movie with balls. No bullshit. This movie has BALLS FOR DAYS.

Scream king Thomas Jane plays David Drayton, a commercial artist first spotted putting the finishing touches on a painting of none other than Roland of Gilead. This is quite the expeditious route to my heart. Alright, so I’m a sucker for Dark Tower shout-outs, but The Mist offers a little more than that. After a violent thunderstorm rocks a small town in Maine (you were expecting some other state?), a gnarly mist rolls into the city. And there are things…in the mist.

Drayton and his young son are stuck in the local grocery store with several other townies, and shit deteriorates with a quickness. A bloody, gruesome, disturbing, AWESOME quickness.

As in most Stephen King stories (including his newest, Under the Dome, which I’m currently wolfing), the big baddies outside are merely a frightening symbol for the characters’ own darkness within, a darkness that is exposed once danger strikes, resources dwindle and panic spreads. Marcia Gay Harden plays the intensely freaky Religious Right prophet, Andre Braugher plays Drayton’s crotchety old neighbor (although he’s no Brian Cox), Smallville’s Sam Witwer plays a guilt-ridden soldier and Toby Jones plays Stephen King’s favorite character to write, the unlikely hero, Ollie.

The Mist has some extraordinary special effects, OUTSTANDING grue, and tension that steadily escalates until you want to gnaw off your own arm just to relieve the stress. Thomas Jane plays a great everyman struggling in a treacherous situation—which is good, because that’s pretty much what he does in every genre movie ever. Fine with me, Mr. Jane! Stick your handsome mug in all of my favorite horror movies!

Better you than Angela Bettis!

All of the acting is fun and enthusiastic, if not overwhelmingly nuanced. As always with Stephen King stories, The Mist has several fully-realized characters with complex motivations and wildly disparate reactions to the looming menace, and the cast pulls it off.

Director, screenwriter and frequent SK collaborator Frank Darabont created a film that is a love letter to old Hollywood monster flicks. The Mist has some unbelievable set designs and the creature work is downright spectacular. And the ending…I am SO PROUD of this ending. Having just realized that this is based on a Stephen King novella (rather than his own screenplay), I am not surprised to discover that this is not the ending he chose for his story. I love Mr. King like a father, but he is a fan of the pattycake ending. Darabont? Did not write a pattycake ending. The ending of this film is AMAZING, a big, ballsy ”EFF YOU!” to Hollywood. 

So: The Mist! Watch it immediately! Now excuse me while I go follow my own advice, as it’s been too many months since I’ve punched my fist in the air as the credits roll and shouted to my empty living room, “I LOVE THIS MOVIE!”

Link Drop:

I knew it was too good to be true. Rachel McAdams has no Spidey plans.

The Smallville movie event has a name! Smallville: Absolute Justice. The date has also changed from January 29 to Feb 5.

Review Preview:

FINALLY watching Deadgirl tonight and reviewing it tomorrow. Whoop!