★★★ / ★★★★
Having seen and being impressed with the remake called “Quarantine,” I just had to see the original. I think both are very effective even though they pretty much had the same scenes. In “[REC],” astutely directed by Jaume Balagueró and Paco Plaza, it had less exposition but the audiences quickly cared about the reporter (Manuela Velasco) and her cameraman. The reporter had a certain spunk and enthusiasm and what the cameraman saw, we saw so there was an automatic connection there. Everything starts off pretty light as the reporter interviewed the firemen about their every day happenings. Things quickly went for a darker turn when the firefighters got a call from an old apartment complex. At first, they thought it was just an old woman that fell and needed help. But when she started attacking and biting people, everyone pretty much knew that something more sinister was going on. People started dying in gruesome ways in the hands of zombie-like infected people and they get quarantined by city officials without an ounce of explanation. What I love about this film was its natural ability to build tension after each scene. There were moments when I thought that if I was stuck in the building with them, the exact same thing could happen so I was definitely more than engaged. “The Blair Witch Project” was undoubtedly this picture’s biggest inspiration but it managed to tilt just enough to have an identity of its own. The best part of the movie for me was the last fifteen to twenty minutes when they finally made it inside the apartment on the top floor. Such scenes revealed to us that it had more to it than “28 Days Later”-like zombies. The disease had a history and I wanted to know more about it. (Maybe a sequel?) But, of course, the scares did not end there. I felt like I was in that dark room with them as they tried to use the night vision option on the camera. I tried not to blink because I was expecting those “shock”/”jumpy” moments. But even then I was surprised and things popped out of nowhere. If one is a horror film fan, this is a must-see. However, this is definitely not for those who dislike shaky cameras in order to add some type of realism to its craft.
★★★ / ★★★★
I was surprised by the quality of this little horror film. Directed by Toby Wilkins, “Splinter” is a story about a couple going camping on their anniversary (Paulo Costanzo and Jill Wagner) and are ambushed by an escaped convict (Shea Whigham) and his girlfriend (Rachel Kerbs). Initially enemies, the two couples had to team up right away after running over a creature that feeds off human and animal blood. Not to mention that it can take over its host after it feeds off the host’s blood. I was horrified because of the way the body moved when the creature was controlling its victim’s bodies. It reminded me of the possessed girl in “The Exorcism of Emily Rose” and those rabid zombies in “28 Days Later” and “28 Weeks Later.” Even though this is a small film, it was surprising how much gore it has. It goes to show that a script with smarts and a creative director can go a long way. I was also impressed by the acting. Even though I liked the “good guys” right away because they were cute and funny together, I also found myself feeling for the “bad guys” because of their circumstance. Another thing I liked about this film was that it didn’t even bother to explain where the creature came from. Most creature-feature films fall for the trap of having to elucidate why and how a monster came into existence. I was glad that this one did not. If one is a fan of horror movies where the characters are trapped in one place (in this case, in a gas station), the characters are smart but not above being silly, and there’s a plethora of effective thrills, “Splinter” is definitely the one to see. I couldn’t help but shudder (and maybe even squeal a bit) during some of the most intense scenes.
★★ / ★★★★
I think a lot of critics and audiences alike have been way harsh on this film. I concur that this picture is not easy to swallow and digest since most of the story took place in one area. It definitely got suffocating because the audiences are subjected to see the same place for about an hour and fifteen minutes (the middle portion); the only things that changed are the increasingly disgusting living conditions of the blind and the dynamics among the wards. Mark Ruffalo and Julianne Moore lead one of the wards, a doctor and a doctor’s wife, one lost his sight and the other one kept her sight (though it must be kept a secret), respectively. It was interesting to watch their relationship change as the film went on because Ruffalo depended on his wife regarding pretty much everything. There was a brilliant scene when Ruffalo talked to Moore about not seeing her the same after she feeds him, bathes him, and cleans him up in ways that a nurse or mother normally does. There was this undeniable tension between them but at the same time they must stay together because everything around them is falling apart. I thought it was interesting how Fernando Meirelles, the director, chose to tell the story. In the first few scenes, we focus on this one man who suddenly goes blind in the middle of traffic (Yusuke Iseya) and slowly transition to other people suddenly going blind to the point where it becomes an epidemic. The epidemic and ravaged city reminded me of “28 Days Later” and “28 Weeks Later,” only instead of zombies roaming the streets, it’s blind individuals. I also liked the slightly hopeful ending because the suffering was not entirely for naught. Still, by the end of the picture, I still wanted to know the source of the epidemic. That lack of explanation somewhat got to me (and I imagine as most people would). I don’t deny the fact that I saw some hints of great filmmaking here such as the stark contrast between certain images in the beginning and the end of the movie. I also liked the “Lord of the Flies” element in the quarantine zone when everyone had to decide who would get how much food, who the leader should be and who would emerge victorious between the wards. I’ve never seen Gael García Bernal so immoral so his character definitely took me by surprise. With a little bit more explanation and less saggy middle portion, this would’ve been a much powerful film. The acting was already really good and there were scenes that really tugged at my heartstrings. See this if you’re curious and hopefully you’ll see what I see in it: potential.
Slumdog Millionaire (2008)
★★★ / ★★★★
I enjoyed this film quite a bit but I think most people tend to oversell it. Yes, it’s uplifting because it’s about a boy who lived in poverty and is eventually given the chance to win twenty million rupees. Dev Patel (“Skins”) did a pretty good job as the main character but his acting is not ground-breaking. He shows potential to become more nuanced as an actor and that’s always a good thing. And I have to admit that the last twenty to thirty minutes are very exciting and involving because everything is at stake. However, I’ve seen it all before. I expected more from Danny Boyle because he does make great movies such as “Trainspotting,” “28 Days Later,” and “Millions.” This film, however, doesn’t leave the platform of “just good” because the middle is too messy; it ran thirty minutes too long. When I look at the big picture, the film would’ve been stronger if the middle had been condensed because it would’ve had more focus. This picture aims to please the crowd and it will definitely hook the fans of (another overrated film) called “City of God.” Both feature impoverished individuals trying to attain a chance to lead a better life. I’m glad that foreign films are being recognized, but I wish casual American moviegoers wouldn’t jump at every foreign film where they see some sort of hardship. It really shows how unaware they are about the state of the rest of the world. Anyway, I’m recommending this film despite the familiarity of it all because it has an interesting premise and a good soundtrack. It’s not as great as everyone says it is but it does entertain and makes one ponder about his destiny.
★★★ / ★★★★
This movie genuinely scared me. It is comparable to “28 Days Later” and “28 Weeks Later” because of the zombie-like creatures that are fast and extremely menacing; “Cloverfield” comes to mind because the entire picture is seen through a hand-held camera. Despite the content of the film, without Jennifer Carpenter (“White Chicks,” “The Exorcism of Emily Rose,” “Dexter”), this movie probably would’ve failed. Providing a character that’s real, good-natured, and one of the boys (established during the amusing first fifteen minutes), we ultimately care about her when the creatures roam about the apartment complex. She really amazed me during the last few scenes because not only can she scream and look good doing it, I wanted to reach out into the screen and help her escape. Another stand-out is Jay Hernandez (“Hostel,” “Planet Terror,” “Lakeview Terrace”) as a firefighter who is both strong and approachable. I wish he and Carpenter had more scenes together because when they interact, the movie feels more alive. As for the scares, a lot of them are memorable: whether something is moving in the background, strange noises coming from a dark room, or bodies falling from above–all of it worked because the characters are trapped in one place. Danger is always around the corner and it doesn’t let go until the credits appeared. I thought the use of lighting is excellent. Most of the time, it makes me want to look closer because the “thing” that we’re supposed to be looking at is shrouded in darkness. Therein lies the trap because once you look closer, something pops out–your heart starts beating and your eyes try to look for an escape. This is one of the better horror films to come out recently and I’m glad to have seen it in the cinema with a friend and enthusiastic horror fans.