The Loved Ones (Directed By Sean Byrne-2009)

Ever wondered what would happen if you mixed elements of Carrie, Pretty in Pink and the black comedy tones of Texas Chainsaw Massacre, combined it with an Australian Freaks and Geeks esque high school coming of age drama and threw in a dash of intentionally hilarious torture porn? (a genre I really don't rate, but here it's more akin to 2008 British horror Mum & Dad) Well, the result would probably look a lot like Sean Byrne's The Loved Ones, a film that plays out like a sarcastic and hyper violent kick in the head, but somehow also works as a horribly fun hour and a half that cant be taken that seriously. Even when the film uncomfortably hints at incest and family tragedy the tone is strangely light and aware of it's comfort zones. Also, whilst Loved Ones is no bona fide classic, its a good, solid and inspired slice of horror that gets progressively more interesting and entertaining as it goes on.
Although Twilight's Xavier Samuels is given top billing on the films fantastic poster, the most memorable performance has to be that of Robin Mcleavy. The role of Princess can't have been an easy one but she pulls it off with such a huge surge of vigorous energy and excitement, I hope she continues to play similar parts in the near future. In Loved Ones, she plays the high school odd one out who after being denied a prom date with Samuel's emotionally damaged stoner character Brent, concocts a rather extreme revenge plan, lures him to her fathers home and proceeds to mentally and physically torture him whilst hosting a twisted prom of own. Byrne's film contains some almost supernatural elements and considering this is his first feature, works wonders with his young cast. Also, one of the films most memorable high points is how brilliantly he combines his ideas with cinematographer Simon Chapman. The final scene of Mcleavy running screaming across the fields, dressed lips to toes in neon pink and wielding a huge carving knife in pursue of her recently escaped hostage bring to mind the final doomed ending to Wolf Creek and linger in the mind long after viewing. The use of scope photography and sun drenched roads are at times mouth watering. Mcleavy's subtle recital of the films title song also gives the final sequence a melancholic air of sadness that may make you question whether your meant to feel sympathy for her, despite her insane antics.
I'll probably be watching this one again as I'm pretty sure one screening doesn't quite reveal all the films twists and obscurities.

Don't Go In The House (Directed by Joseph Ellison-1980)

One of the more memorable films in the long line of "Don't..." horrors that plagued the late 70's and early 80's, Joseph Ellison's infamously misogynistic drive in favourite delivers the sleaze but lacks a certain flare(Pun intended).
In an obvious nod to psycho, the film centralizes around paranoid mummy's boy Donny Kohler(Dan Grimaldi)who's job working at a local incineration plant has left him with an unhealthy obsession with fire. We also learn in an early flashback that his mother held his arms over the kitchen stove whenever she felt he was doing wrong.
All this back story is simply an excuse to lead the film up to it's most notorious moment. In it's defence Don't go in the house has one of slasher cinema's more demented and impressive moments in which Donny chains up and burns an innocent florist he has offered a ride home. The special effects used during this scene are so well done it not only makes the rest of the film seem quite lame in comparison but apparently highly distressed the cast and crew when watched back after it was originally shot. The film tries to make the most of its budgetary restrictions in a similar way to Abel Ferrara's Driller Killer and is helped greatly by it's Saturday night fever-esque disco soundtrack. However, it's a bleak and at times uncomfortable viewing experience and probably not one to be repeated often. The downbeat tone and dreamlike direction add to Donny's lonely character, though at no point does he come across as a particularly likable character, his unusual relationship with his mother also pushes the film into strange territories that may explain why it's still unavailable uncut in the UK. Though I'm fairly sure the reason the prudish BBFC censors didn't like this one is because of that one particular sequence that really does look a little too realistic.

The Legend Of Hell House (Directed By John Hough. 1973)

For those of you who enjoy your terror in the tradition of The Woman In Black and Amicus classics such as The House That Dripped Blood, The Legend Of Hell House will be a devilishly rewarding experience. An outstanding example of what can be achieved with absolutely no special effects or thrills, and carrying with it an atmosphere of supernatural dread heavy enough to put The Haunting and similarly themed haunted house shenanigans to shame.
The film revolves around the story of the deceased Emeric Belasco, who's spirit still possesses the "house" in question. A team of psychic investigators and the only member to survive a previous visit to the house(played with incredible intensity to the very last frame by Roddy McDowell)take residence and attempt to dispose of the unwelcome poltergeist. In true haunted house style, none of the cast get along particularly well with each other, thus leaving the spirit to take advantage of them. Kudos to the wonderful Pamela Franklin, who plays Florence Tanner, the poor lass who manages to attract the undead spirit of Belasco in a far more intrusive and damaging way than the others.


The Legend Of Hell House is classic British psychological horror. From the sinister cobwebs, the continuously prowling black cat to the Hammer inspired dry ice and fog surrounding every exterior shot, you probably know what your going to get here. Add to that a superb and strangely tribal main theme, some fantastic quotes, such as "It's the Mount Everest of haunted houses!" and "If thine eye offends thee...pluck it out!" and you have yourself a creepy, subtle and enticing night in. Just don't expect any gore or modern day horror fare. This one's all about the scares.

The Beyond (Directed By Lucio Fulci-1981)

Where to begin with a film as effortlessly enigmatic as Lucio Fulci's latter day masterpiece The Beyond? Well, I should start by saying I'm more than just a little bit biased when it comes to his films, as this and House By The Cemetery are in my humble opinion some of the greatest moments in horror cinema history. Full stop.
The Beyond is a highly unforgettable experience and one that works on more levels than may be perceived upon first viewing. As with many films of its kind, I think The Beyond simply gets better with each visit.

New Yorker Liza (played by Fulci regular Katherine MacColl)inherits a hotel among the swamps of New Orleans and sets about refurbishing the place. As we learn from the spectacularly spooky sepia prelude, one of the hotels guests - an artist simply known as Schweik - has been accused of being a warlock and must suffer at the hands of the town's lynch mob. Schweik's death then proceeds to open one of the seven gates of hell, thus allowing the dead to cross over into the land of the living. Of course.

This being a Fulci film, the above opening sequence is insanely gory and terrifying enough to have most sane viewers running for the door.



The Beyond is awash with Fulci's trademark otherworldly feel and surreal use of over-the-top zoom cinematography. As with his other gothic undead films of this era, The Beyond has several almost unnervingly timed set pieces. Some are laughably executed, such as the infamous tarantula attack in which, despite being extremely gruelling stuff, it is clear half the creatures are very fake. Other gore highlights include the Suspiria-inspired blind dog/owner's throat attack on Emily, the town's blind pianist (who is somehow connected to Schweik and narrates the film's memorable opening passage) along with numerous other zombie attacks and eyeball atrocities.

Anyhow, what makes The Beyond such a compelling experience not just in the Euro horror scene of the 70s/80s but also cinema in general is its incredible final five minutes in which Liza, accompanied by heroic local Doctor McCabe (played by the handsome Dave Warbeck who did the audio commentary to the DVD of this film on his deathbed! Now THAT'S dedication for you) flees from the cadaver-infested local hospital only to realise the morgue staircase leads directly to the basement of the hotel... or hell, as we soon find out. This sequence alone proves how incredibly gifted Fulci had become as a director by this point and stands alone as one of the scariest endings I have ever seen. Throughout the film, Fulci Soundtrack regular Fabio Frizzi provides what may be his finest film contribution and the poetic end piece lingers in the mind long after the film has finished. It's achingly beautiful. In fact, there's very little that could be improved upon when it comes to any Fulci soundtrack. I just wish they were more easily available.

The Beyond is a difficult film to assess in a few paragraphs. It's excessively grotesque, it has some uncomfortably stilted acting and at times it makes little or no sense, but once you come to terms with Fulci's chaotic Lovecraft-inspired parallel universe you may agree it belongs alongside the Texas Chainsaw Massacres and Exorcists of this world. More Fulci to follow.

LISA LISA (aka AXE) (Directed By Frederick R. Friedel. 1977)

Frederick Freidel's Lisa Lisa is a strange little film that despite numerous viewings(it's only an hour long)still intrigues me in a similar way Texas Chainsaw did upon my first few viewings way back when. In fact the two films have a similar atmosphere at times. Lisa Lisa is a bleak, creepy and sparse piece of 70's horror that if watched at just the right time of night in just the right frame of mind can definitely take the viewer somewhere special. It's by no means that good, but it certainly has a menacing power that sucks you in and compels you until the final poignant and downbeat scene.
The storyline is even more threadbare than most of it's kind but given the incredibly short running time I guess there wasn't much time for character development (something that add's brilliantly to the character Lisa herself, played fantastically by Leslie Lee). Three gangsters are on the run and end up hiding out at the house of Lisa and her mute Grandfather, where they make themselves very much at home. Lisa doesn't take too kindly to the intrusion and takes matters ever so calmly (and savagely) into her own hands. And that's it.
From its' hauntingly beautiful keyboard score to the nowhere script and hopeless despair that linger heavily throughout the film, it's power is in it's refusal to play by the rules or even maintain the forward momentum one expects from a film. I'm sure as hell in the minority of people who rate this film but for some reason I have never quite got it out of my head. I think the lonely rural settings of films such as this appeal to the horror fan in me greatly. Well, that and the sight of Leslie Lee wiping out most of the cast whilst casually decapitating chickens for dinner. In it's own mysterious way, the film is surprisingly shocking considering the low key feel of the rest of the film.
Whilst certainly not for a lot of people, Lisa Lisa (or California Axe Massacre if you prefer it's more sleazy title)is lovingly made and definitely one of a kind. Above is an especially rare poster that makes little sense if you've actually seen the film.

MADHOUSE (1981-Directed By Ovidio G Assonitis)

Madhouse is one of the more obscure titles to make the famous Video Nasties list in the UK in the 80's and also one of the least likely to cause that much offence these days. The story revolves around Julia, a teacher at a deaf school for children who is plagued by memories of her hideously disfigured and demented twin sister Mary, who, with the aid of their completely twisted and almost unwatchable uncle, sets about hunting down and killing Julia. The pacing of the film is often very slow, but the Fulci inspired scope photography and the City Of The Living Dead/Beyond esque locations give the film a mildly poetic feel. Throw into the mix some wildly erratic Cannibal Holocaust inspired music from Riz Ortalani and a bizarre scene involving a rottweiler breaking through a door Jack Nicholson style and getting a powerdrill through the head for it's troubles and you've got quite an odd little film.
Madhouse (or, There Once Was A Little Girl as some publications call it)is available in a few different Dvd incarnations, but I must say, the edition from Film 2000 has one of the worst dialogue tracks I have ever heard on a film, so perhaps avoid this version if you are planning on checking it out as it's highly frustrating and was only properly audible on headphones.

PARANORMAL ACTIVITY 2 (2010 Directed ByTod Williams)

Anyone who enjoyed the first film is pretty much guaranteed to like this one, though the addition of more characters gives the film a slightly less claustrophobic feel.
Paranormal Activity 2 carries on with the same formula of the first film but this time involves Kristi(the sister of Katie from the first film) who's family experience unexplained break-in's to their house which result in them setting up security cameras in every room. Strange things begin to happen immediately, with the swimming pool cleaner removing itself from the pool, baby Hunter waking up randomly throughout the night and kitchen cupboards flying open of their own accord. As with the first film, the source of these paranormal happenings is Katie, who in the first film explains her childhood dealings with demons and unknown entity's and, though discussed much deeper in this installment still seems to be in denial that anything is wrong or that she should keep her distance from her sister's family. Katie Featherston deserves credit agin for her role here as she revives the emotion and terror of the first film with a natural ease.
The film continues in a fairly repetitive but effective style, with pretty much every scene starting with the view from the front door security camera. Perhaps this being a subtle stab at all the mind-numbing reality television the broadcasters try to brainwash us with. However,and as I was hoping, the scares are pretty full on and the film proved to be hugely entertaining on the big screen, with audience members literally whimpering and leaping out of their seats. Also, whilst not being a direct remake of the first one, the familiarity works in the films favour, with similar sound effect cues reminding the audience subconsciously that something very bad was about to happen. Given the twisted, slightly predictable but satisfying ending who knows? Number three will probably be with us in a few months time. Though I'm not sure where else the franchise could be taken.

ROGUE (2007, Directed By Greg Mclean)

For better or for worse it's definitely time more was said about Greg Mclean's surprising follow up to his ass kicking Wolf Creek. Though Rogue is certainly not a horror film in the same way it's predecessor most certainly was, it takes Mcleans highly competent visual flare into overdrive and makes extraordinary use of the scenery and sparse sun drenched outback.
Being a film that revolves entirely around a boat full of tourists stranded in crocodile infested waters, Rogue manages to not only outdo the rather dull Black Water, but most likely every killer crocodile movie made prior to it (Tobe Hooper's Crocodile anyone?). As with Mclean's previous film, there is little humour to be found here and a very real sense of dread that manages to make Rogue appear big budget whilst sticking true to it's b-movie roots. Rogue suffers ever so slightly from it's main characters who often just don't seem to work comfortably along side each other and the conclusion being very different from Wolf Creek. Rogue may not live up to everyone's expectations as there really isn't much bloodshed and the middle of the film does drag on a little bit. However, the survival element is very much the key part of the film and whilst not likely to give anyone serious nightmares, does at times give a good scare. Cgi or no Cgi. I guess they couldn't risk letting a real crocodile walk away with an oscar.
I'm very much looking forward to Greg Mclean's next film, though judging by Imdb he hasn't been particularly busy of late.

WHO SAW HER DIE? (Directed by Aldo Lado 1972)

Another obsure cult giallo unearthed by the ever reliable Shamless Screen Entertainment. Who saw her die? was made in 1972, a year before Nicolas Roeg's classic Don't look now, but bears such an uncanny resemblance most viewers will probably think this is an obvious ripoff of the bigger budget Roeg film. Interestingly not so.
As with the later and far more unsettling Night Train Murders (also available through Shameless)Aldo Lado at once draws the viewer in with a fog of unease made all the more memorable by the haunting Ennio Moriconne score. A mysterious child killer in a black veil is on the loose in Venice and targets the daughter of the emotional trainwreck Franco(played admirably by temporary Sean Connery James Bond replacement George Lazenby)who takes it upon himself (and his moustache) to solve the crime. What follows is fairly standard Euro-thriller fare and revolves almost entirely around Franco searching for his child, however Who saw her die? is rarely dull and works on quite a few different levels other than straight forward horror. The acting in this film is also unusually good for its type and the creepy locations captured beautifully by scope master Franco Di Giacomo lend the film a poignant air of despair not dissimilar to Edward Woodwards lost at sea panic in Wicker Man.
So, another stellar release from Shameless. One of my favourites of theirs since Torso and a rather haunting little film. Now if I could only shake that slightly over-used Morricone theme song...

HALLOWEEN 2 (Directed by Rob Zombie 2009)

I wish this film had been bad in the way Zombie Lake was bad but alas, it's just abysmal in every way. I know I'm a bit late getting round to seeing this but while I was slightly ashamed to admit that I enjoyed Rob Zombie's first take on the Halloween franchise, I'm a bit embarrassed to even say I sat through this one! This film seems to consist of terribly executed scenes of unexplained flashbacks and dream sequences that appear to serve only as an excuse to have Zombie's wife Sheri Moon in the film a bit more. As with the first installment I found the use of Danielle Harris (who was a very young child in the original Halloween's 4 and 5)very strange. Not because I was used to seeing her as a kid, but because I wasn't used to seeing her running around topless, covered in blood. Sorry, but having been a fan of the early films these scenes leave a bad taste in the mouth and just don't sit well in the tradition of the original Halloween films. The violence in this film isn't interesting or original either, and unlike the over the top, comic book bloodshed and mayhem that soaked his previous films, here, it's just boring.
One redeeming feature (and the same can be said for all his films) is the cinematography and colour schemes are incredible, but this time, the film can't even be saved by his usually interesting retro rock n roll soundtrack, Even that falls flat. Sorry but it's really a struggle trying to find anything to recommend this. (even the usual dvd extras don't cut it)
Please don't give us a third film Mr.Zombie.

KICK ASS (Directed By Matthem Vaughn-2010)

Unlike the majority of watered down, CGI reliant big budget attempts at superhero remakes it's truly refreshing to see a film as unapologetic in its portrayal of in- your-face, no nonsense violence and hilariously overblown excitement. To start off with, it may seem that the basic storyline of Kick Ass isn't THAT original. But that's almost the point. Remember when American Pie first hit our cinema screens? Well, in a similar way, this film seems to be here purely to show you how a film of this genre should be done! The script is spot on, the usual teen humor is endearing (in a Superbad sort of way), the cinematography is almost too much to take in on first view and the characters are truly Hilarious throughout. Even the Bad guys.
Kick Ass is really something else though. It's a one off example of everything you would expect it to be and so much more. It was so refreshing to see Nicholas Cage going back to this style of stupidity I laughed pretty much every time he opened his mouth and his gun obsessed foul mouthed relationship with his 11 year old daughter Mindy (played incredibly well by Chloe Moretz) really defies words. The the two of them, as you will know by now, lead a double life as superheros Hit Girl and Big Daddy and it's not often scenes of bloodshed and carnage can leave the viewing laughing at the almost charmingly sincere respect they have for each other. One particularly intense scene involving Hit Girl reminded me a great deal of the infamously brutal 70's Swedish cult classic Thriller:A cruel picture.
One of the most effortlessly affective aspects of Kick Ass is it's ability to combine teen loser comedy with a full on visual assault of violence and superhero fantasy, and all at the same time as capturing an almost elegant sense of style and freshness in it's colour schemes and set pieces.
Top marks also have to go to 19 year old Aaron Johnson as David/Kick Ass and Superbad's truly charismatic Christopher Mintz-Plasse as Red Mist who hopefully we are going to be seeing more of in the near future.
Kick Ass really is a must see. Its hyperactive fun to the extreme and leaves you literally gagging for more. Thankfully judging by the closing scene, it may not be too long before Part 2.

I LOVE YOU PHILLIP MORRIS (Directed by Glenn Ficarra and John Requa 2009)

I had my doubts about this film but boy was I wrong! I'm not going to say much about this as it really does need to be seen to be understood on any level as it's one seriously demented piece of cinema. And a hugely entertaining and hilarious one at that! If neither Ewan McGregor or Jim Carey get Oscars for this I would be very surprised as both of them give career defining performances. This is one strange and highly entertaining film!

SHUTTER ISLAND (Directed by Martin Scorsese 2010)

The trailer for this film gave the impression of it being a spooky psychological horror film, however it's not particularly scary or shocking. Nor is it really a classic. Ben Kingsley is the standout character in the film, and a surprisingly powerful performance from DiCaprio has finally convinced me that he is slowly becoming Jack Nicholson. With a superbly dynamic cinematographic opening sequence and the interesting use of Max Von Sydow and Michelle Williams in small but memorable roles, I found Shutter Island to be an enjoyable and interesting hour and a half but I can't say it begs to be watched again any time soon, though revisiting it may give away a few more clues to the twist ending, which, suprisingly I didn't actually see coming!

HOUSE OF THE DEVIL (Directed by Ti West 2009)

I got pretty damn excited about this film when I saw it at Frightfest last summer and the wait for the DVD release is finally over. (Not to mention an extremely cool but highly limited retro VHS collectors edition in a suitably over sized plastic box)
House of the Devil isn't a particularly easy film to review, but I wanted to bring some attention to it as it really needs to be seen. I'm pretty sure it's one of my personal favourites of recent years.
Ok, so the story couldn't be simpler, Samantha (played by Jocelin Donahue) gets a job as a baby sitter as a solar eclipse is taking place. Little does she know that her new clients Mr and Mrs.Ulman (Mary Woronov and Tom Noonan) plan to use her in a satanic ritual. And that's pretty much it.
However, as I'm sure you have already heard, House Of The Devil immediately separates itself from the recent flock of horrors as it is a deliberate throwback to the 80's, including it's soundtrack, cinematography, artwork and wardrobe. Certain scenes brought Carrie to mind, and others elements of the first two Friday the 13th films along with numerous others.
Luckily, these are all attributes not flaws and bring together something pretty original and memorable. House of the Devil certainly lingers in the mind long after viewing.
The DVD came out on Monday (15th March) and I'm just hoping Ti West does a decent audio commentary and mentions the French girl in the audience at Fright Fest who told him he was the next Roman Polanski.

TOMBS OF THE BLIND DEAD (Directed by Amando De Ossorio 1971)

I find certain horror films hard not to go on about and this is most definitely one of those movies. Tombs of the Blind Dead is the first in a four part series of films (along with Return Of the Blind Dead, Night Of The Seaguls and Ghost Galleon)that tell the story of the resurrection of The Templar Knights, blind hooded zombies on horseback who hunt their victims by sound (including by heartbeat). The settings and atmosphere throughout this film are incredibly creepy and can certainly pack quite a punch 30 years later. Just watch for the scene were the templars attack the passangers of a train towards the end. the idea alone of shooting this scene just as the sun is coming up over the countryside is breathtaking. The dvd of the first and superior addition to the series comes with a dubbed and heavily cut UK version and the fully restored Spanish version.(Which really is the only way to see this film as it's certainly a classic of it's kind and it looks superb.)
The other three films in the series are a bit hit and miss but if you like interesting European horror from the 70's and 80's you could do a lot worse than to check this one out! It has pretty much everything you would expect or want from horror. And it's not been remade. Yet.

PARANORMAL ACTIVITY (Directed by Oren Peli-2007)

This low budget horror film seems to have been marketed using the same hype technique as The Blair Witch Project, so the reviews were almost guaranteed to be mixed and I'm sure a lot of people had made their opinions before even watching it. Well, I went into this film with an open mind and I'm glad to say that it DOES live up to the hype. In fact, it's quite simply one of the scariest films I've seen in a long time.
The film revolves around a couple (played impressively by Katie Featherston and Micah Sloat)who move into a new Suburban home only to discover a possibly demonic presence is at work in the house. Soon they realise it is only happening after dark and they both struggle to block it from their minds when they go to bed each night. (These scenes are performed in such a fantastically natural way, that it's quite easy to get so sucked in you forget you are actually watching a film!) Katie admits early on in the film that she has been a victim of possession since the age of eight, though Micah is doubtful and decides to set up a video camera in their bedroom in the hope of capturing something whilst they sleep.
Paranormal Activity moves at a particularly quick space for a film of it's type and great use is made of director Oren Peli's house. (in which the entire film was shot) Also, Katie's gradual breakdown at the hands of the "activity" should go down in horror film history as it starts to feel all too real as the film goes on.

Not really an easy film to assess as such, as anything shot on hand held digital camera post Blair Witch/Last Broadcast/Open Water is going to be an acquired taste. Paranormal Activity is no exception. I personally thought it was excellent and was left feeling like I had watched something quite special. I watched this with three others who all shared my opinion, including my girlfriend who didn't seem too happy about shutting the bedroom door that night.

THE WITCH WHO CAME FROM THE SEA (Directed by Matt Cimber 1976)

Having seen this film on the video nasties list I was slightly dubious about watching it as the majority of those films are either overrated or extremely dull (With the exception of a few truly great ones! And I'm sure you know which ones I mean.) However, I was really impressed with this film. It's a surprisingly well made and original piece of shock cinema. I don't really see this as horror, despite there being a few fairly horrific moments and a downbeat feel throughout. Anyhow, I highly recommend this one to anyone who enjoys 70's exploitation, horror or just plain weird films. Millie Perkins is exceptional and all in all I'd say this deserves a bit of time as its a very underrated film. And a very strange one at that.

(Unfortunately, the Region one DVD, and the only available edition at this time, has an awful and inappropriate sleeve)

CRAZY HEART (Directed by Scott Cooper-2009)

Jeff Bridges gives yet another oscar deserving performance as Bad Blake in Scott Coopers tragically heart warming Crazy Heart. The film tells the story of Blakes coming to terms with his declining music career whilst seeking solitude and falling unexpectedly in love with like minded country music journalist Jean (played in a very understated way by Maggie Gyllenhaal).
Blake has been warned by his doctor that his chain smoking and whiskey consumption is leading him to an early grave (and during one hilarious yet uncomfortable performance at the start of the film, the audience is led to be entirely in agreement) but it takes a slight mishap involving a lost child to actually wake Blake up and visit rehab. By this point of course Jean has little faith left him in and their suprisingly sweet romance begins to fall apart.
Thankfully Crazy Heart is neither soppy or predictable (attributed in no small part by Bridges wonderfully humane performance) and relies strongly on the superbly shot musical passages, which are shot so well I wanted to stand up and clap in the cinema at the end of each song!
Throughout the film it becomes clear that Blake has an arch enemy called Tommy Sweet (played acceptably but not memorably by Colin Farrell, who fails at being anywhere near as charismatic as Bridges, unsurprisingly). We discover that Tommy and Blake were once in a band together and when the two finally end up sharing a stage together they have a sentimental and touching catch up in the venue's car park. Tommy's small fortune isn't helping his song writing so he pleads with Blake to write him his next hit.
Without giving much away, Crazy Heart is quite simply, a joy. The soundtrack (including a perfectly timed Townes Van Zandt number) cinematography and pacing are all perfectly melded together, making this a candidate for one of my films of the year so far.
Finally, the use of the bar/bowling lane at the start of the film was genius. Just check out the last scene of Big Lebowski and you'll see what I mean.

DEAD SNOW (Directed By Tommy Wirkola 2009)

I was getting quite frankly sick of a new overly stylish zombie films being churned out every week until I saw this. The list of second rate Romero, Fulci and computer game inspired undead films that rose in the wake of Shaun Of The Dead was getting very very tiresome.

Fortunately Dead Snow is quite an exception to the genre as it is not only extremely bloody(in an early Peter Jackson sort of way) highly original in it's locations and storyline(Nazi Zombies attacking medical students in a ski lodge in Norway), but also very funny. I was quite disappointed to have missed this film at Fright Fest last year as I'm pretty sure watching this with a highly excitable horror crowd would have made for quite an evening. Or Morning for that matter.
Dead Snow has quite a lot in common visually to the Evil Dead films, along with the fact that the characters, despite being fairly annoying to begin with became quite likable and by the films conclusion had me laughing heatedly at their predicament. Also, the usual splashes of sex and gore were portrayed in a surprisingly light hearted manner, making Dead Snow so much fun it's quite unlike any Horror film you'll be seeing again soon.

OPERA (Directed by Dario Argento-1988)

After the rather hit and miss Phenomena from 1984 I had my doubts about watching this. Many describe it as the last "proper" Argento film and many rank it alongside Phenomena and Inferno as being slightly misunderstood. Well I think both of those claims are true as I was quite surprised and more than a little bit inspired by this film. If you are familiar with his work you will already know that Dario Argento's films of the late 70's and 80's (call them horror, call them Giallo. I just call them, as I'm sure, would Ron Burgundy, "classy") were quite a feast for the eyes and ears. Logic is thrown out of the window (probably screaming and blood soaked) the dizzying camerawork will probably make your jaw hit the floor and the music, more often than not performed by Argento's friends Goblin will stick in your head for days, whether you like it or not. Try watching 1982's Tenebre and not looking up the soundtrack album!
Opera takes the above and pushes everything into overdrive, though this time the film is interspersed with some really obscure 80's hair metal that when played back to back with the films wonderfully orchestrated opera score, doesn't always work.
Anyway....this is Argento's first attempt at remaking The Phantom Of The Opera. Though it plays very much by it's own rules. Argento first timer and Extremely charismatic (ok I may as well have just said attractive) Cristina Marsillach plays Betty, who is offered the lead in the "opera" though is terrified that a curse hangs over anyone who plays the role.
.....And she's right! She becomes the target of a mysterious killer who, basically we all know from the start has to be someone involved in the theatre production, and amidst having her eyelids pinned open so she can witness two of the unusually bloody murders (a moment of gore history is made here folks!) she teams up with her agent Myra (played by Argento's wife Dario Nicolodi) to solve the mystery. The scenes in which the killer is attempting to get into Betty's apartment whilst she drowns the noise out with her deafening relaxation tapes is awe inspiring and incredible in it's originality and just plain weirdness! Somewhere around here, Nicolodi gets shot in the eye when a slow motion bullet comes through the keyhole of the apartment. This really needs to be seen to be believed.
One of the key figures in this film, and one which shouldn't go unmentioned are the crows. During the final performance of the Opera the birds accidentally break free of their cage (which one can only assume they are in for some reason linked to the play. It's never explained) and fly throughout the opera house attacking the patrons. This is were Argento's cinematography really comes into it's own. The viewer feels as if the camera's unusual acrobats are being shot by the birds themselves. It's amazing stuff. And then there's the final ten minutes....!

So there you have it. I have now seen Opera. And it's rather wonderful. Though truly bizarre.

Note: Most versions of this film are now uncut. Arrow films and Blue Undergrounds dvd editions both look good, though for some reason the U.K Arrow disc calls the film "Terror at the Opera" though it's exactly the same film. I'm lucky enough to have a good friend who got drunk and accidentally ordered two copies of this film so I got mine free. Hence the review. Thanks Mark.