We follow up Part 1 of our Film4 FrightFest 2013 coverage with more reviews of some of the most notable films in this year’s line-up. Below, Evrim Ersoy looks back at his highlights from the programme.
Cheap Thrills (E. L. Katz, 2013)
One of the best films to grace the screen at Film4’s FrightFest, E.L. Katz’s debut feature is a heady concoction of morality tale and unrestrained thrill ride. Pat Healy plays Craig, a sometime-writer who’s down on his luck, working blue-collar jobs to make ends meet for his wife and kid. On the day he’s going to ask for a raise, Craig finds himself fired. Too depressed to head home, he stops off at a local bar only to run into Vince – a high school buddy who works as a collector for a loan shark. Before you know it, the two are having a drink, and it’s not long before they’re joined by a couple, Colin and Violet, who are out to celebrating her birthday.
How the story proceeds is half the fun in this unexpected, impossible-to-guess tale, which marries strong characters with plausible plot developments and creates its own odd, offbeat rhythm. As the stakes get raised further and further, the whole debacle becomes more and more difficult to watch – however, it is to the credit of the excellent script and brilliant direction that it’s almost impossible to tear your gaze away from the screen. Boasting perhaps the most brilliant final shot of any film this year, Cheap Thrills is an incredible opening gambit from a clearly talented and promising creative team. Do not miss it.
Watch the trailer for Cheap Thrills:
Dark Tourist (Suri Krishnamma, 2013)
Michael Cudlitz stars as Jim, the titular ‘dark tourist’ who spends his holidays visiting a serial killer’s locations, including the murder sites. However, Jim is much more than who he first seems, and as he gets closer to two women – one a waitress at the diner and the other a prostitute who occupies the room next door at his hotel – his dark nature is slowly and shockingly revealed. Suri Krishnamma’s exploration of one man’s tortured soul can be, by and large, considered a failure: although Michael Cudlitz gives a decent performance, the material itself is so weak and fractured that nothing can really save this mess of a movie.
Mistaking general stereotyping for character study, Dark Tourist goes through the clichés of every descent-into-hell study and comes up with even more hollow statements to make. Fitting every impulse neatly into black and white categories, the film is nothing more than a glorified TV movie, with perhaps some of the worst insights into human nature seen on film. All in all, there’s nothing new in the world of Hollywood’s understanding of the whys and hows of the creation of monsters – the answers are still simplistic and banal, even with the wealth of information and resources available.
Watch the trailer for Dark Tourist:
Odd Thomas (Stephen Sommers, 2013)
In the tradition of Hollywood thrillers of the 80s like The Burbs, Odd Thomas is a delightful, offbeat yet mainstream film that will be sure to please those looking for some old-school thrills. Anton Yelchin plays Odd Thomas, a short-order cook with the ability to see dead people, who uses his powers to bring killers and murderers to justice. Addison Timlin plays Stormy Llewellyn, while Willem Defoe is Chief Wyatt Porter, who knows about Odd’s powers, and helps to keep them hidden.
Stephen Sommers keeps the whole film lighter than a ball of marshmallow, while the set-pieces and special effects are impressive enough for a film clearly not made on a big budget. The central mystery is simple – for once it’s nice to see a thriller where there aren’t complicated layers after complicated layers – it’s a true Hollywood case of good guys vs. bad guys, and Odd Thomas is not a lesser film for it. Clearly trying to attract as wide an audience as possible, this is a breezy, fun-ride reminder of how good Hollywood mainstream can be when it chooses to. Delightful.
Watch the trailer for Odd Thomas:
The Last Days (David Pastor, Àlex Pastor, 2013)
Taking the typical apocalypse scenario, but putting it through one of this year’s more unique reincarnations, The Last Days is a glossy, character-driven drama with some real heart.
The time is now. Humanity develops a severe form of agoraphobia overnight, with those daring to venture outside immediately dying. Everyone is stuck exactly where they were when the illness struck, with people trying vainly to access the subway tunnels to be able to travel. Marc is an office worker who is desperate to get back to his girlfriend, who he is sure is still alive. He finds himself teaming up with new colleague Enrique, a corporate downsizing expert. The two men form an uneasy alliance, which will see them confronting the very best and worst of human nature through a fallen Barcelona.
With a threat that is almost completely internal, The Last Days eschews the usual horror of the infected or zombies for something a bit more cerebral. While the descent into unruly behaviour apes those seen in other apocalyptic films, directors David and Àlex Pastor keep the story moving quickly enough for the audience not to become irritated by these similarities. Terrific central performances from Quim Guterrez and Jose Coronado keep the audience rooting for these two everymen, who also seem to represent figures from Spain’s recent economic downturn. Only a divisive third act threatens to derail what has been an engaging series of set-pieces; however, the film is assured enough to let the audience determine the meaning of the final 20 minutes. All in all, it’s an admirable and terrific effort, definitely worth seeking out.
Watch the trailer for The Last Days:
If the first film was a tentative but flawed attempt to breathe some life into the well-worn anthology format by combining nostalgic longing and creepy storytelling, this second instalment represents a coming-of-age of the most over-the-top kind: like the unruly brother who bursts in the door at the most importunate moment, V/H/S/2 is loud, brash and brilliant.
Veering from the sublime to the outrageous, V/H/S/2 is a terrific combination of talent and ambition. Most of the stories are not only technically impressive, but also combine terrifying scares with laugh-out loud moments. Without spoiling any of the storylines, suffice it say that the four segments vary from alien abductions to strange cults, with eye transplants and zombies in between. Standout segments from Gareth Evans and Jason Eisener impress and astonish in equal measure, however, the talents of other directors (especially Adam Wingard’s tender Carpenter tribute) must not be ignored. V/H/S/2 is an engaging, brilliant sequel, which deserves a huge audience to enjoy it loud and big at the cinema – an almost perfect Saturday evening film.
Watch the trailer for V/H/S/2:
Snap (Youssef Delara, Victor Teran, 2013)
Although it seems far too lazy to define a film in terms of its music, there’s no other way of explaining Snap, a psychological thriller deeply settled within a dubstep rhythm.
At first glance, the story is familiar: Jim Whitman is a shy musician who spends most of his time alone at home. When he finds himself drawn to Wendy, a social worker, and Kevin (played by the brilliant Scott Bakula), it seems that he might be able to step outside his comfort zone for the first time. However, Jim’s inner demons are not willing to let go without a fight, and the scene is set for a distraught showdown.
None of the elements are new, but it’s what the film does with them that surprises. Snap treats the audience as equals, and rather than relying on unnecessary twists to make the narrative seem interesting, it focuses instead on the characters, slowly painting portraits of lonely, isolated and damaged people thrown around by the waves of life. Jake Hoffman excels as Jim Whitman, at once charming and yet sinister, while his battle with his own psyche might be one of the better portrayals on the screen for a long while. The sound design also deserves a mention, with the loud and disruptive soundtrack affecting the very nature of the film, with the abrupt jumps and the sudden cuts adding to the overall atmosphere. This is a very assured effort from two young directors and is well worth a watch.
Watch the trailer for Snap: