Archive for April, 2013

A wedding day is left ruined when the bride, groom, guests and staff have to survive a zombie-like attack.
Running parallel to its predecessors, Rec 3 Genesis follows the ‘outbreak’ during a wedding night. Director Paco Plaza’s sequel although lighter in tone still has its fair share of jump scares, gore, poignant and heartbreaking lose moments. Finley edited Plaza’s part 3 is compellingly shot at first in the style of first and second film however after the lengthy prologue it switches to a traditional film style with the soundtrack and score complimenting the the mood perfectly.
Here some of the ‘infected’ move at a slower pace, there’s the obligatory blood spatter, deaths and outstanding special effects including a grizzly chainsaw scene.
Writers Luiso Berdejo, David Gallart and Plaza continue the sub-religious plot established in the other instalments including a nice touch where the rabid guests are unable to cross over hallowed ground.The supporting cast are mostly strong, notably is the bride Clara who is wonderfully portrayed by Leticia Dolera.
After all said and done, Genesis while removed slightly from the Rec and Rec 2 is a good fresh addition with a brave ending if even if a side piece companion of sorts to the originals.
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After a spate of cannibalism incidents in New York where an ancient symbol is left at the scenes of mutation a team of doctors disembark to remote island to investigate the source of the rituals origin.
With some effective gore from Claudio Battistelli and Roberto Pace – disembowelment, impalement, slit throats, eye gouging and machetes through the head to name a few Zombie Holocaust has its fair share of blood. That said, the little zombie make-up that is on display is poor, the action is sporadic with the adjoining scenes slow and tedious with a tension-less pace. Luckily Ian McCulloch is there to inject some life delivering some awfully great lines including: “This wouldn’t have happened if everyone had obeyed orders and stayed in camp.” “It was really bad back there.” And “Something is wrong”.
The sets from 1979’s Zombie Flesh Eaters (Zombi 2) and some footage are reused. Along with McCulloch actor Dakar (Molotto) also appears from Zombi 2 only this time he has some more dialogue. Synonymous with these Italian films at the height of their popularity the lead actress, in this case the lovely Alexandra Delli Colli (Lori) takes off her clothes at every opportunity and Sherry Buchanan as Susan is also pleasant on the eye, has a pivotal shocking scene, but still it’s typical Italian schlock, bad dubbing, editing and script etc as it moves from one scene to the next as the expedition’s party are picked off one by one by the local cannibals. A handful of zombies show up midway through heavy breathing and do little else.
There’s some good lighting, nice scenery and even a Scooby-Doo-like twist, to quote McCulloch’s Peter, “worse than those cannibals.” Even with the stunt dummy’s arm falling off after the porter jumps from a window to director Marino Girolami’s credit it’s one of the technically better made of its kind but ultimately it’s a forgettable and slow affair.

Exactly as the title suggests its a cash-in on both Fulci’s great Zombie Flesh Eaters and Ruggero Deodato’s Cannibal Holocaust (1980). Worth watching for McCulloch and Colli but it’s simply painfully disappointing.

A group of thieves take a job tipped by their recently released from jail former associate, but the heat is on with the police hot on their trail.
With some tippex and thinner this may well have been a proposed sequel to Michael Mann’s 1995 hit Heat. It has a solid story with a cast of terrific actors and an above par supporting cast including Jay Hernandez and Chris Brown in a free-running spree. Leads include physical, quirky Hayden Christensen, Idris Elba and Paul Walker in a Chris Shiherlis/Val Kilmer type role who are all on form. Matt Dillon steals the show in another heat-alike role reminiscent of Al Pacino’s Hanna. That said, Zoe Saldana’s talents are completely wasted, reduced to simple eye candy.
Love or hate it, director John Luessenhop’s and Michael Barrett’s photography handheld camera look is frustrating, possibly better reserved for the action setups or a horror film as in Takers case it quickly becomes tiresome, Mann’s Collateral (2004) it is not. 
There’s some great sound design with the shootouts becoming semi-silent allowing certain sounds and cues to be heard. With a fistful of writers namely Peter Allen, Gabriel Casseus, Luessenhop and Avery Duff there’s still some questionable character motives and actions, this aside it has slick costumes, cool music from Haslinger, great lighting and grand settings – as a simple heist film with interesting characters it works perfectly.
Nevertheless, the camera work takes you out of the moment, robbing Takers of any finesse and tension.
On the fourth of July a small American bay-side town is torn apart by a chain of events that are later covered up by the powers that be.
Nothing to with Michael Bay, in the vein of endless supply of ‘found footage’ films Barry Levinson’s The Bay is a hard hitting, perfectly executed, retrospective film made up of different footage after a parasitic outbreak.
Levinson’s and Michael Wallach’s story wears its social commentary firmly on it’s sleeve – touching on (and not limited too) commercial greed, environmental rape, corrupt governments, nuclear and animal waste issues and the authorities inability to act in a crisis.
All the actors are naturalistic and the few special effects excellent. Reminiscent of the tone of Diary Of the Dead (2007) only more grounded and authentic. With a multitude of different types of filming styles The Bay somehow manages to hold your attention if only building up to and including one Paranormal Activity/Blair Witch-like scare. That said, it’s not a horror per say, the story unfolds and is far more interesting and on a larger scope. The realism will certainly get under your skin as you discover what is causing the towns illness.
It maybe questionable why an acclaimed director like Levinson would want to do this style of flick as it’s another shaky camera affair made-up of surveillance tapes, news reports, mobile phones and internet footage to name a few but to it’s credit, and if you’re into these type of films it’s probably the best of its kind as it has something significant and relevant to say.