The Wing Kong Exchange (feat. Inferno)

[Fuji Vice]

Re: The Wing Kong Exchange

Troll Hunter

After several bears are found dead in Norway, some local students decide to investigate. Armed with microphones and cameras, they soon come across a mysterious hunter named Hans. Initially reluctant to deal with them, Hans soon decides to bring them along on his hunt. Soon however, the students learn that Hans is actually an employee of a secret government agency that hunts and kills trolls. Even though they're skeptical, the students accompany Hans as he heads out on his most recent assignment, to eliminate several dangerous trolls in the area.

So yeah, um, apparently they've got trolls in Norway and the rest of the world just hasn't figured it out yet. Seriously. Ok, maybe not, but what they do have in Norway is a healthy dose of folklore and mythology, something that should make most of us western folk jealous. We've got nothing on the Scandinavians, who's culture has practically been born into existence from the legends of vikings, goblins, trolls and other assorted mythical creatures. Realizing this unique part of their ethnicity, some ambitious filmmakers from Norway decided to take these myths one step further and purport that they were in fact reality. Using the found footage style popularized by films such as The Blair Witch Project and Cloverfield, these filmmakers churned out Trolljegeren (Troll Hunter), one of the most bizarre films in recent memory. A "mockumentary" unlike any that have come before it, Troll Hunter is a unique experience that rewards a viewer with the patience to understand its hilariously dark comedy and whimsical nature.

"This dude's got one hell of a nasty heroin habit."​

The film is written and directed by Andre Ovredal, though its shot in the usual found footage style so as to make us think its all been done by the amateurs that also star. This style, at least in my opinion, is starting to get old at an accelerated rate, so the fact that I enjoyed it here so much is nothing short of a miracle. Unlike other films of its type, Troll Hunter chooses to shoot in the style while still retaining some semblance of film and lightning techniques. This helps to give it a slight sense of professionalism while still maintaining the kitcsh value that we've come to expect from found footage films. The decision to shoot the film this way also allowed a lot of leeway in the design of the trolls themselves, as they could appear obscured or distant most of the time. This serves a functional purpose of leaving a lot of things up to the viewers imagination and while we DO see the trolls we start to wonder just what it is we're looking at. I went into the film expecting to see next to nothing (as some other found footage films have done in the past) so it was certainly a pleasant surprise to see these trolls so fully realized several times throughout. Considering the entire film is based around them, it was important to make sure they came across as believable as possible, something I felt the filmmakers did an excellent job on.

"Farewell and adieu to you fair Norwegian trolls...."​

The central character of the film (outside of the trolls of course) is Hans, the titular "hero" and all around bad ass of the forest. Hans, played very well by controversial Norwegian comedian Otto Jespersen, is a rough and ready hunter who seems to be cut from the same cloth as Quint from Jaws. He's a veteran in his business, and though his business may not be the most normal thing he is nothing short of a consummate professional once the work begins. Jespersen really does wonders with this character and brings a lot of charisma to the part. You literally cannot take your eyes off of him regardless of the bizarre dialogue he's spouting out about trolls trying to eat their own tails. His performance is easily the best in the film, which makes sense because he's the only one who isn't running and screaming all the time, something that the other actors were obviously hired for. Along with that screaming, they also help to flesh out some of the more interesting tidbits of troll folklore, so they are functional even if they aren't very convincing actors. Outside of them, its the trolls that take center stage here, and while the effects are sometimes cheesy they still work quite well. Of particular note is the "boss" or final troll, which is over 50 feet tall and genuinely comes across as pants-soiling when you first see it on screen.

"Strike a pose, there's nothing to it."​

The most interesting thing about Troll Hunter is the way that it turns a lot of the established troll folklore on its ear in an attempt to freshen things up. In the film, the trolls are real, but they aren't the clothes-wearing, storytelling creatures you grew up hearing about. Rather, these are near-sympathetic creatures that come across more like confused animals than anything else. Their function is simply to eat and pro-create and when they overstep their boundaries they are killed, just like any other animal in the food chain. They're also incapable of producing proper amounts of Vitamin D, which is a nifty way of explaining why they turn to stone in intensified light. This of course allows Hans the opportunity to walk around with a UV gun, petrifying several trolls before hacking the stone to pieces. We also learn that trolls can smell Christian blood, something that becomes a bit of a running joke throughout the film. The only thing that I didn't quite grasp was the whole government cover-up subplot, and not because it didn't make any sense but more because it didn't actually go anywhere and was subsequently negated in the closing credits. That small little detail wasn't enough to detract from my enjoyment of the film though, and I'd think anyone who loves a good monster movie would certainly get a lot out of Troll Hunter.

"We're going to need a bigger pair of pants to crap in."​

Troll Hunter was shot on a budget of about $3.5 million and has grossed close to $5 million in limited theatrical releases since its release in 2010. It has also enjoyed an extensive home video release and has developed a loyal, if small, cult following. Even if you aren't the biggest fan of the found footage genre, Troll Hunter has enough unique elements to it that you should definitely give it a chance. Besides, you don't often get an opportunity to see a dude petrify trolls and then smash them to bits with a hammer while waxing philosophical about government conspiracies and the benefits of concentrated troll stench. 7/10.

"Next...what's up with Robert Englund's face?"​

 

[Petty]

Re: The Wing Kong Exchange

Interesting. What is on his face. Lovely review, btw where is the basement to The Wing Kong Exchange, I believe there a wire shorting somewhere, and I'm suppose to come here and repair it, got this telephone and stuff...

 

[Fuji Vice]

Re: The Wing Kong Exchange

Interesting. What is on his face. Lovely review, btw where is the basement to The Wing Kong Exchange, I believe there a wire shorting somewhere, and I'm suppose to come here and repair it, got this telephone and stuff...

The wire's shorting because of rats chewing through it...or something like that. Just watch out for the hell of the upside down sinners.

Jack Brooks: Monster Slayer

As a child Jack Brooks witnessed the brutal murder of his family. Now a young man, he struggles with a pestering girlfriend, therapy sessions that resolve nothing, and night classes that barely hold his interest. After unleashing an ancient curse, Jack's Professor undergoes a transformation into something not-quite- human, and Jack is forced to confront some old demons... along with a few new ones.

Once in awhile a horror film comes along that not only doesn't take itself seriously but is fully aware that its doing so at the same time. When this works as it should, the end result is typically something awesome, since horror and comedy are excellent genres to mix. Some shining examples of this include Evil Dead II, Tucker & Dale vs. Evil and the recently reviewed Troll Hunter. Well you can also add Jack Brooks: Monster Slayer to the list, because if not taking itself seriously was an Olympic sport, it would easily win multiple gold medals. Released in 2007, its not the most well known film, having been more of a cult hit in its native Canada than anything else, but that doesn't mean its not worth seeking out. Taking a hilarious tongue-in-cheek approach to both the writing and acting, the film is a non-stop laugh riot that still manages to add in enough grotesque imagery to satisfy the discerning gore hound audience it seeks to attract. With some memorable performances, hysterical dialogue and one hell of a hero, its got a lot to recommend even though it occasionally misses the mark. One thing's for sure; watching monsters meet their makers at the hands of a rage-filled psychopath with PTSD and a penchant for hyperactive behaviour has never been so fun!

"Never bloody a monster slayer's lip."​

The film is the first feature from director Jon Knautz, who also wrote the screenplay along with John Ainslie, Patrick White and Trevor Matthews. While there's certainly some moments where you can tell he's an amateur filmmaker, Knautz hides them well in all the turmoil that's occurring on-screen, and really only shows some faults during scenes that are meant to be quiet and tense. However, he also adds a sort of black humour to these moments, so that the audience should be too busy laughing to notice. That humour, the main element that makes this film special, is expertly written, providing the film with many laugh out loud moments while still maintaining an air of horror. There are some particularly funny exchanges of dialogue between the main character and an old man who works at a hardware store that have to be heard to be appreciated. Another thing that I enjoyed in the writing was the believability of the characters and though most are stereotypes (bitchy girlfriend, annoying class nerd, stoner) each of the actors does a decent job making them seem lifelike. Speaking of the actors, outside of the one established star that the filmmakers brought in to lend an air of credibility, each is remarkably well polished even though they may not be household names. When the solid script and their performances are added together, something pretty special happens before the monsters show up to wreak havoc on the proceedings.

"Learning is fun with Freddy."​

The established star I was referring to earlier is none other than Freddy Krueger himself, Robert Englund, here playing Jack's night school teacher, Professor Gordon Crowley. Englund may be synonymous with his razor glove wearing alter ego, but that doesn't mean he's not capable of turning in a good performance in other roles. Here he absolutely steals the show before eventually being turned into a monster, and has several great moments. Early on he asks Jack to come to his house and fix a pipe (Jack's a plumber by trade) and you can tell he just wants to hang around with him because he's lonely. It's weird to see Englund seem so vulnerable, but he makes it work all the same and becomes something of a sympathetic character before he starts trying to ingest everyone in his classroom. Meanwhile, Jack Brooks is played by Canadian actor Trevor Matthews (also one of the writers) and he does a fantastic job with a multi-dimensional character. When he's not kicking some serious monster ass he's flipping out on his psychiatrist, a hilarious scene where he describes why his hand is bandaged in the most roundabout way possible. Matthews isn't well known, but this performance is star-making material, at least where the horror genre is concerned. The rest of the cast is al awesome in their roles as well, but I must quickly mention David Fox as Howard, the old man in the hardware store, because he's just too good for words and one of the absolute best parts of the film.

"Hey, the Sex Files totally ripped this scene off...well sort of."​

I think that, given the film's title, a lot of people are going to have extremely lowered expectations going into it, which is a great thing. Right from the beginning mine were shattered when the first monster appears only moments into the film and actually looks realistic, not the shoddy b-movie effect I thought I'd be seeing. From there it only gets better, with the character development and dialogue taking center stage before the final showdown with ultimate evil and more monsters than you can shake a baseball bat at. While I do think this film strays heavily towards the comedy end of the spectrum, its also nasty at times and its apparent that no fake blood was wasted during the production. This serves to make Jack Brooks: Monster Slayer a lot of fun while also packing a deadly punch that almost takes you by surprise from time to time. Some of the more intentional comedy doesn't work and just comes across as corny, but overall there's rarely a dull moment to be had here. While I wouldn't put it at the level of an Evil Dead II, I can safely say that fans of that film are going to find a lot to love here, and hey, if you're getting comparisons to the Raimi/Campbell masterpiece then you're hitting a lot better than A-Rod is right now. All in all, Jack Brooks: Monster Slayer is one hell of an entertaining movie that allows you to laugh while also relaxing your brain. At the end of the day, is there really anything better than that outside of sex? That was rhetorical by the way.

"No need for closets, here the skeletons are all out in the open."​

Although it was released in 2007, I cannot find any box office gross information for Jack Brooks: Monster Slayer since it appears to only play festivals. It's also been released on DVD and Blu Ray so hopefully a lot of people have checked it out since it really is a lot of fun. I had the pleasure of seeing it at a screening back in 2008 and when watching it again yesterday I remembered exactly why I'd loved it so much. It loses a little something without an audience to watch it with, but there's more than enough left over to give it a strong recommendation. As I said, if you like Evil Dead II you'll like this, there's no doubt in my mind, but try to go into it with a fresh perspective and remember, don't dig up things in your backyard if you aren't willing to eat hearts before turning into a blob monster! 7/10.

"Next time...a plastic nightmare."​

 

[Wangman Page]

Re: The Wing Kong Exchange

I need to look up monster slayer. It looks pretty interesting. Good review Fuji.

 

[Castiel]

Re: The Wing Kong Exchange

Fantastic reviews of both Dawn and Day of the Dead! I'm cool with a 10/10 for Dawn, absolutely amazing film! Little side story, the game Dead Rising is all about a zombie apocalypse inside a mall and was the first game I picked up when I got my 360 due to the movie it obviously takes from. I've always been a big fan of the Romero films. Monster Slayer also looks fun, I'll check it out.

 

[Fuji Vice]

Re: The Wing Kong Exchange

Everyone should check out Jack Brooks: Monster Slayer, its awesome and its Canadian. Speaking of awesome Canadian movies, how about....

Pin...

PIN, short for Pinocchio, is an anatomical dummy used by Dr. Linden to instruct his patients. He also uses the dummy to teach his children, Leon and Ursula, about the ways of life. Even though the doctor uses ventriloquism to make the dummy seem real, Leon truthfully believes it to be so. When their parents are killed in an auto accident, Leon and Ursula continue to live in their house, along with Pin, who Leon has developed an unnatural attachment to. When Ursula begins spending more time with her new boyfriend, Stan, PIN and Leon decide to take action to ensure that their family is not broken up.

You know, Canadians can be a pretty weird bunch of people when we're not saying "eh" or talking about hockey or maple syrup. Case in point, our film industry, which is loaded with bizarre yet incredibly thought provoking material. From films like David Cronenberg's "Videodrome" or Vincenzo Natali's "Cube", it seems our filmmakers are constantly attempting to push the envelope of modern cinema. Another Canadian gem that fits into that category is Pin, released in 1989 to minimal fanfare but one that quickly developed a large cult following due to its unique nature. Indeed it has maintained that following to this day, and is routinely mentioned in the same breath as some of the scarier films of the 1980's, no small feat considering the company its keeping. Playing like a slightly fractured version of Hitchcock's "Psycho", Pin is a genuinely creepy film that quickly gets into your head and makes you feel uncomfortable. It's not just the subject matter either, though that's certainly enough, but the feeling of helplessness that one feels throughout its duration. This is a film where you want to tell people to snap out of it and see what's happening so that they can save themselves. Sadly, that's not to be, and so Pin retains its evil hold on the viewer, toying with them while they sit back and take it all in with wide eyed enthusiasm.

"Putting this Playboy in the middle was a good call dude."​

Written and directed by Sandor Stern (wrote the original Amityville film though I don't consider that a real claim to fame) from a novel by Andrew Neiderman, the film's strengths lie in its willingness to treat its viewers with intelligence. The screenplay has more than enough material to let us in on exactly what's happening but it never tries to hammer it over our heads. Rather, it assumes we're able to draw natural conclusions from the events that are unfolding and make our own informed decisions. The dialogue can be a little theatrical at times, particularly in the confrontations between the two lead characters, but its never anything less than believable. Coupled with this strong script is Sandor's ability to direct his actors properly, including the wooden puppet Pin, and give them all enough balance to anchor the film. He really juggles these divergent personalities well and paces the film with a real steady restraint. In fact, given the absolutely bizarre premise of the entire thing, its a minor miracle that it didn't get out of hand, an even further nod to Sandor's talents both on the page and behind the camera.

"Hello Leon, its the voices calling."​

The cast here features a couple of standout performances and thankfully those belong to the two main characters, Leon, played by David Hewlett and Ursula (Cynthia Preston). For starters. their individual performances are fantastic, though there are a couple of times that its painfully obvious there's something really wrong with Leon. That's actually more of a plot device than anything else, so its hard to blame Hewlett when the script called for him to act that way in the first place. Preston has a real arc of character development even early on in the film, and its great to see the way she keeps that arc in the emotional aspects of the character she portrays later on. She's wounded and fragile, but she's still got a sense of street smarts and strength about her that is impossible to deny. Once you put these two personalities together, the sparks fly, though in the best way possible. Support comes in many excellent forms, from the always awesome Terry O'Quinn (Lost's John Locke) as an overbearing father to Bronwen Mantel as a madly obsessive compulsive mother. It appears everyone here was really feeling this project, including Canadian treasure Helene Udy (My Bloody Valentine, The Incubus), who shows up here as a super slutty girl who just wants to make it with Leon. When he can't perform he goes to talk to his good buddy Pin, which sets the stage for one of the more creepy elements of the film. Check it out for yourself....

[video=youtube;42qB9u-HvNQ]http://www.youtube.com/watch?v=42qB9u-HvNQ[/video]​

That's probably the creepiest scene in the film from a shock horror standpoint since the truth of the matter is that this is much more of a psychological picture. It's the story of Leon's methodical descent from reality into a fantasy world that was brought about entirely by the adults that shaped his childhood. From witnessing his dummy being "raped" by a nurse to constantly suffering abuse from both his mother and father, its not hard to see why this guy would be a little bit off. This turns him into a tragic and sympathetic figure, much like Norman Bates in Psycho in case you were wondering when I was getting to the reference I made earlier. As with Bates, its hard to be apprehensive to poor Leon once you realize exactly what kind of stuff was going on in this kids early years. Hell, his own father tricked him into thinking that his anatomical dummy was real and then tried to steal it away from him when he realized the error of his ways. What a dick! Before the film is over we take a real dark journey with Leon before we say goodbye to him in one of the most heartbreaking endings to a horror film that I have personally ever seen. As the final credits roll its not horror we feel, but pity, and an emptiness that cannot be put into words. This is powerful stuff to be sure, and though it does share similarities with other films, its distinctive enough to stand on its own and is a worthy watch for anyone trying to find a little more meaning hidden within their horror.

"Dinner for dummies."​

Pin is pretty elusive, since I can't find any budget or box office information for it. I can say that I remember it being quite popular around here when I was younger, but that's more than likely due to its Canadian roots than anything else. Regardless, it has gained that strong cult following that I mentioned and really does deserve a chance from those looking for something just a bit different. It's not perfect and its partially been done before, but Pin rises above those faults and becomes something unique unto itself; a horror film with not only a heart, but a soul as well. 8/10.

"Next...the ghost is bouncing like a red rubber ball."​

 

[Bad News Booty]

I am gonna check slayer soonly

 

[Fuji Vice]

I am gonna check slayer soonly

As a fan of Evil Dead II and Army of Darkness, I'm 99.9% sure you'll love it dude.


Sent from my BlackBerry 9900 using Tapatalk

 

[Castiel]

Re: The Wing Kong Exchange

Pin looks really awesome. Never heard of until now. A soulless look is always creepy, ask the likes of Michael Myers so I dig the idea and use of the doll. Also, Terry O'Quinn in a father role? That always works out well! :

 

[Fuji Vice]

Re: The Wing Kong Exchange

The Changeling

After the tragic death of his wife and child, composer John Russell relocates from New York to Seattle to take a teaching position. He also moves into a massive old mansion which is being restored by a historical society; but he is not alone. Soon he begins to hear strange noises and discovers secret rooms which hold stories of unspeakable horror. Can he learn to communicate with the house in time to bring peace to the spirit that now haunts it?

In the annals of horror history, one thing is as certain as a dead counsellor at Camp Crystal Lake; white people are just a little dense when it comes to haunted houses. From old classics like House on Haunted Hill to 70's films like The Amityville Horror and all the way through to the more modern Silent House, it appears that a lobotomy is a requirement to own or rent one of these frightful abodes. More often than not in a haunted house film I find myself spending more time trying to tell the idiots inside to just leave rather than pay attention to what's going on. Perhaps that's a fault of my own for caring too much about these hapless victims or maybe its simply bad storytelling, but the fact remains that I normally don't find haunted house fare all that engrossing. However, if there's one haunted house movie that gets me going like no other, it is most certainly 1980's The Changeling, a beyond creepy Canadian horror film that has managed to hold up quite well in the 32 years since its release. Taking the best elements of the genre and adding in just enough of a proper mystery story to keep the viewer guessing, its a slam dunk and a reminder that big old mansions are not the safest places to live, particularly if you're in one that's occupied by an angry ghost!

"I hope they've got a lot of fire coverage on this old house."​

Directed by Peter Medak (who would later film the awesome thriller The Krays) and written by William Gray (Prom Night) and Diana Maddox from a story by Russell Hunter, it seems on the surface to be a simple little film but by the end the full scope of its complexity is revealed. This results in an adequate payoff that rewards the viewer who has paid attention to all the subtle (and not so subtle) hints dropped throughout the proceedings. Medak's definitely got a knack for shooting horror, from the creepy and slightly surreal camera angles he uses to the lighting techniques which mask so much of the house in arcane shadows. Some of the credit for this has to go to cinematographer John Coquillon as its clear his previous work on films like Straw Dogs and Cross of Iron served him well here. The script is also quite dynamic and takes a lot of risks, particularly with the subject matter regarding how the ghost came to occupy the house. Let's just say that if you've read my reviews in the past, you know that there's one Hollywood taboo that rarely comes up in film and in this one it not only does that, it slaps you in the face with its brutality. Then again, this isn't really a Hollywood film, having been produced and shot in Canada, so perhaps it all makes sense when you realize how crazy we are up here. Hey, when its snowing in October you tend to go a little loony alright?!?!

"Attack of the killer....wheelchair?"​

George C. Scott stars as John Russell, the protagonist of the film, and does an incredible job (as always) showing off a wide range of emotions while anchoring everything properly. There's a great scene where he viciously hammers at a lock on a door in an attempt to break it and by the end of it he looks quite maniacal. He's also great in an emotional moment when he breaks down after having a dream about the accident that took his wife and child from him. Either that or he was crying at how awful Trish Van Devere's performance as Claire was and if that's the case I don't fault him one bit. Well, actually I do, because if he hadn't been banging her at the time there's no way she would have gotten this role because she's a horrible actress. Amazingly enough, she actually won a Genie (Canadian equivalent of Oscar) for this role which just proves that its a lot easier to buy those awards than one might think! Either way, she doesn't have a whole lot to do which is quite good, and strong performances from supporting talent like Melvyn Douglas and Roberta Maxwell, who absolutely owns as a medium who contacts the ghost during a seance. In fact, her performance here is so good that you might as well see it for yourself....

[video=youtube;pd-9YuDgm2g]http://www.youtube.com/watch?v=pd-9YuDgm2g[/video]​

Along with the excellent acting (outside of Van Devere), sound is an extremely important part of the film. Knocks, rattles and other assorted noises accompany the strange going's on inside the house and if you listen to this with the volume cranked in a dark room I guarantee you'll be more than a little creeped out. The house itself gets in on the action many times too, making faucets run and playing notes on a piano before its grand finale where it somehow sets itself on fire, easily causing a nightmare for the insurance company that was foolish enough to write a policy on it! Actually, the house itself is a real star of the show as it is simply one of the best haunted houses I've ever seen on film. Even during daytime shots it seems that there's something evil lurking around every corner and it sure as hell looks like a place that I'd never want to visit. There's also one other scene in this film that may very well be one of the scariest ever filmed, that being a sequence involving a red rubber ball that used to belong to Russell's child. To put it simply, I rank it among the top five scares I've ever had while watching a horror film and yes, it still frightens me to this day, certainly a bold statement to be sure but why not judge for yourself.....

[video=youtube;uaPLQidZub4]http://www.youtube.com/watch?v=uaPLQidZub4[/video]​

Yep, that's one scary little rubber ball and just another great moment in a film chock full of them. In fact, none other than Martin Scorsese once mentioned that The Changeling was among his very favourites that the genre had to offer, which is very high praise coming from such a talented director. The Changeling may not have made that much money (no real box office records exist) but its developed a strong cult following over the years and regularly pops up on critics top 10 horror films lists. Once you've taken a look, it'll be easy to see why, as its simply a stellar haunted house picture that firmly holds to every cliche that genre has to offer while putting a unique and interesting spin on them. Plus you'll never look at a rubber ball, a wheelchair or a bathtub the same way again....I guarantee it. 8.5/10.

"Next time...what the f**k?"​

 

[Wangman Page]

I will have to check out changling. Never saw it and what the hell is that picture at the bottom.

Sent from my PG86100 using Tapatalk 2

 

[Fuji Vice]

Re: The Wing Kong Exchange

Grave Encounters

The crew of reality show "Grave Encounters" descend on the Collingwood Psychiatric Hospital, where they hope to film some paranormal activity for an upcoming episode. To date, they have shot 5 such shows but have experienced no encounters with the supernatural, leading most to take their job as a bit of a joke. However, once they're locked inside, they soon realize that the building is more than just haunted, it is alive, and it has no intention of ever letting them leave.

One day I'm convinced they're going to discover a found footage film about what goes through the minds of people who make found footage films. It seems a logical step in a genre that appears to be expanding with each new year. *2011 brought us no less than 14 of these films and while most were virtually unwatchable (Undocumented) some showed a little more promise than the genre is normally known for. Among those was Grave Encounters, a nifty little American-Canadian production that makes the most out of its minimal budget and provides some decent scares. It suffers from a similar affliction that many horror films do, that being a lack of likeable characters, but that just makes seeing them attacked all the more entertaining. It's not groundbreaking, not original and not powerful enough to be anything more than popcorn fare, but at least it understands that and doesn't attempt to trick you. Rather it does just what its intended to, get your heart pumping and your girl to throw her arms around you in fear. I'd say that's what a horror movie is supposed to do, right?

"Not a good sign that you're in a safe place."​

The film is written and directed by The Vicious Brothers, better known as Colin Minihan and Stuart Ortiz. Call me crazy, but shouldn't these two be just a bit more famous before resorting to pretentious titles like that? A quick search shows that this is in fact the only film they've ever made (though they're credited with writing the sequel), which is usually not a good sign of things to come. Luckily they seem to be fairly adept at working their camera angles and lighting techniques in order to shoot a relatively believable found footage picture. If there's one issue I had its that the lighting was too bright at times, making it easier to see than I would have liked it to be from a scary standpoint. Outside of that they do pretty much everything else right with the exception of their characters, which I'll be getting to in a moment. At the very least, they manage to succeed in creating a genuinely creepy atmosphere most of the time, a pretty impressive feat for two newcomers. Unfortunately they appear to need lessons in the casting department, because their work here is a complete and utter fail on nearly every level imaginable.

"DOUCHE-TASTIC!!!"​

I'd just like to take a brief moment to point out that this film was shot in Vancouver, BC. Why do I mention that? Because it appears to me that any number of high school kids in the area would easily have done a better job than the saps the Vicious Brothers hired to play the roles of the main "hero's" here. Seriously, as far as the characters go, Kenny the caretaker is pretty amusing, as is the contractor and gardener that are interviewed prior to the actual filming. Unfortunately all of them soon disappear and we're left with the crew, who quickly turn out to be some of the most un-likeable characters I've seen in some time. In fact, I was instantly rooting for the ghosts here just so that I'd have to deal with less of these morons! Speaking of the ghosts, once they get going they're pretty pissed and honestly, I think I would be too. First of all people are trespassing in your home. Second, they're a bunch of douchebags. If that wouldn't "get your ghost" then I don't know what would! Oh, puns in a horror film review...the horror, the horror. Unfortunately that's what I was doing to amuse myself while watching these "actors" awkwardly stumble their way through every scene. Thankfully, as I mentioned above, the ghosts themselves are rendered pretty well, so they help to distract us from how horrendous everyone else in the film is.

"New rule, if there's a ghost in the corner, LEAVE IT ALONE!!!"​

Continuing with the theme of stupid white people in haunted houses I spoke about yesterday, we head to an asylum, a place no horror movie character should ever enter let alone lock themselves in. Fortunately for us, these idiots do just that, and then spend the rest of the film trying to get out. The twist here is the hospital keeps changing things around so they never can, a nice little twist. They can't just walk out the front door because it keeps disappearing! Amazingly enough, this film actually attempts to prove my theory about white people for me; the black guy is initially the only one who tries to get out! He doesn't quite make it, but at least he tried damn it! While things take awhile to start and feature plenty of dull moments along the way, the final half hour is pretty intense. It's got some super cheesy sequences (a character being "zapped" and thrown down a hall is more funny than scary) but also some genuinely creepy ones. At this point the actors are pretty genuine in their performances but I still had a hard time caring about any of them. Ultimately this is the biggest problem with the film; with no need to care for the characters there's no reason to be scared when they're threatened. The final wrap up shots, which are meant to explain the evil in the hospital, aren't quite as scary as they're intended to be and I found the ending more than a little obvious. Still, even with those minor gripes, there's some real good stuff here including a great gag with a bathtub and another featuring arms coming through a ceiling.

"I knew it, they lobotomized people before sending them into haunted houses!"​

Grave Encounters was shot for about $2 million and earned over $5 million during its limited theatrical run, not great but enough to green light a sequel. A quick read over the synopsis has me interested enough to push it to the top of my review pile, so watch for that one real soon. In the meantime, if you can handle the found footage genre and don't mind appalling actors, Grave Encounters is certainly worthy of your time. After all, you get ghosts, ghouls and even a little rat-eating, so hey, what's not to love eh? 6/10.

"Next time, hopefully not more of the exact same."​

 

[Fuji Vice]

Re: The Wing Kong Exchange

Grave Encounters 2

Young filmmaker Alex Wright has an unhealthy obsession with Grave Encounters and believes that he needs to uncover the truth behind it. After receiving a mysterious e-mail with the location of the hospital in the first film, Alex and his friends head out there to do a little filming of their own. Unfortunately they soon realize that the hospital is in fact alive, and more than happy that a new crop of victims has arrived.

One thing is certain when it comes to found footage films; if the first one is a success you can damn well be sure there will be a sequel. I've found that these sequels generally tend to pale in comparison to their predecessors, with Book of Shadows: Blair Witch 2 at the very bottom of the poop pile. However, they can't all be bad, and with films like Paranormal Activity 2 and 3 outdoing the original, perhaps found footage films have turned a corner. I had been pleasantly surprised with the first Grave Encounters film but still had a little hesitation going into the second one, particularly when it appeared that they weren't going to do anything original. Thankfully this lack of originality is actually one of the films strongest points and its only when the writers try to get cute that the film starts to fall apart at the seams. Is it better than the original? Personally I think it is, with only the final act being a little weak, but one thing's certain....it's a scary fun good time and yet another sign that the found footage genre seems to be finding its footing.

"As if the ghosts weren't enough, these kids have to deal with Predator's too!!"​

Written by The Vicious Brothers (still second in pretentious names to The Brothers Strauss) and directed by newcomer John Poliquin, Grave Encounters 2 outdoes the original a lot of the time. Even though I delight in making fun of their name, you've got to give a lot of that credit to the aforementioned brothers, who here turn in a fantastic script for the first two acts. In fact, there is so much believable dialogue here that I found myself engrossed almost immediately and really got behind the characters, a definite improvement over the merry band of morons in the first film. Poliquin may not have had any other films under his belt when he shot this, but if the end result is any indication of his talents, I look forward to seeing more of what he has to offer. He smartly remembers the best moments in the original film and takes them out the same door (or window) in new and disturbing ways. He also manages to perfectly recreate the tension felt in the first film while keeping things moving along nicely. Finally, Poliquin and the pretentious brothers realized the need to outdo the crappy casting from the first film and made some excellent choices to right that terrible wrong.

"It says Death Awaits and you go in anyway? Yep, you deserve to die."​

Where the first film failed miserably, this one succeeds at providing interesting and fun characters. Sure they're way over the top, but hey, all's fair in the b-movie acting department. The fact that these characters are likeable really helps, particularly when the scares don't always measure up. This cast may be made up of mostly non-descript actors (outside of one surprise), but each does a solid job portraying their role, particularly Richard Harmon, who plays the main character with some serious style. While this solid cast is a definite improvement over the original, guess what they are? Yep, more stupid white people, and this time they do the original cast one better and break IN to the haunted building! Is it ballsy or is it just being a dick? I'll leave that one for you to decide. Once again, I have no problem siding with the ghosts here, but at least I'm considering the feelings of their victims this time. Plus its hard not to feel sorry for these people when they escape the building only to find themselves trapped back in it when they use the elevator in their hotel. If that doesn't make any sense, don't worry, but it does happen and it brings us more intensity so I'm willing to look past it. The only real complaint I have with the characters here is that stupidity factor, as evidenced by the following scene....

[video=youtube;WPwIO9myfQQ]http://www.youtube.com/watch?v=WPwIO9myfQQ[/video]​

I mean really, why wouldn't you get the fuck out of dodge (if you could that is) the moment that board started going all haywire? Of course I wouldn't even be in the hospital in the first place so I guess I'm just a tad smarter than these oxygen thieves. Complaints with the characters stupidity aside (it is a plot device after all), they have an interesting premise here that the original film was in fact real and the death's were covered up by the producer. This leads our characters in the film to seek out the truth with the requisite dastardly consequences and that's why the first two acts work so well. There's some nifty plays on things that happened in the original (particularly that freaky window) and each character meets a decidedly vicious end (save for one but no spoiling here) so yeah, its all pretty much win. That is until the third act starts and threatens to ruin the first two with its obviously rushed writing. It's like the pretentious brothers made a deal with the devil to get two good acts with the cost being the third. That's really the only way I can explain how the wheels just seem to fall right off towards the end. Thankfully its not enough to diminish the strong work done in the first two acts, but it just makes the film feel a bit off and that hurts it a lot. I guess you really can't ask for much more from a found footage sequel and its a pretty tasty horror treat even though the third act seems like the razor blade hidden in the apple.

"Looks like someone needs a pacifier."​

Grave Encounters 2 has just been released in a small theatrical run in the US and will soon have a similar one in Canada, so I've got no box office for it yet. I'd like to think it will do enough business to warrant a third chapter, something that I'd very much like to see. As a former hater of the found footage genre, I credit Grave Encounters and its sequel with opening my eyes to the potential that these films have. In fact, I'm so into the genre right now that I'll be watching and reviewing several more over the next little while, starting with yet another one that I consider a standout tomorrow. However, you'll have to wait for that while I give Grave Encounters 2 a 6.5/10 and a recommendation to check out. Actually, check out both of them, since hey, there's no telling when the found footage films are going to start sucking again right?

"Tomorrow, there's something really wrong with this guy's camera."​

 

[Wangman Page]

I am going to have to watch these they look intriguing to me.

Sent from my PG86100 using Tapatalk 2

 

[Fuji Vice]

Re: The Wing Kong Exchange

Skew

When Simon, Rich, and Eva head out on an eagerly anticipated road trip, they bring along a video camera to record their journey. What starts out as a carefree adventure slowly becomes a descent into the ominous as unexplained events threaten to disrupt the balance between the three close friends. Each one of them must struggle with personal demons and paranoia as friendships are tested and gruesome realities are revealed...and recorded.

In watching several found footage films recently, I noticed a trait many share is their lack of intelligence. That's not to say the films aren't smartly made, just that they lack any real substance or depth and certainly don't try to make the audience think too much. More often than not they simply exist to provide several jump scares while a camera moves shakily. Yep, that's not exactly though-provoking material, but I was convinced that there MUST be a found footage film out there that does try to do just that. Then along came Skew, a smart and sinister little film that can almost be described as a found footage thriller as opposed to a strict horror film. With an interesting and relatively unique story, three strong actors and some nifty effects, the end result is one of the very best I've seen that the genre has to offer. It may lack the notoriety of Paranormal Activity, the radical moon setting of Apollo 18 or the wow factor of Cloverfield, but what it does have is the ability to stick with you long after its finished. In a genre populated mostly by mindless exercises in fright entertainment, that's definitely something that makes Skew well worth your attention.

"It's a lot better when you ride INSIDE the car."​

Written and directed by newcomer Seve Schelenz, the film takes all the standard found footage elements and adds a lot of drama and storytelling to them. This works almost all of the time, as Schelenz clearly shows he's a very capable young filmmaker in both the writing and directing departments. His script is purposely vague for the majority of the film, offering only brief hints as to what's happening, but that is its true strength. He'd rather we spent our time guessing as to what's going on while also developing strong emotional bonds with the characters we see on screen. This really seems fresh to me and I can only hope Schelenz continues these strong efforts in the future, whether in the found footage genre or not. His direction can best be summed up as modest, since he relies solely on his main actor to function as the cameraman. This decision to have the actor shoot the film rather than a professional cinematographer definitely gives it a more raw tone and in turn makes it seem a lot more realistic than some others. Plus I really like the idea of the camera and the actor combining to function as the eyes of the film. It lends a much more personal feeling to the entire thing, which in turn gives us all the more reason to care about what's happening.

"Sorry dudes, the towel stays on."​

In any found footage film, its important to find actors who can come across more like real people than like characters, and Schelenz found three that were raw enough to fit that bill. Rob Scattergood plays the main character, Simon, and does an excellent job considering we rarely see him on camera. There's a reason for this of course, but why spoil the fun of letting you figure it out for yourself? Scattergood has just the right amount of informal hesitation in his voice to make him seem like a person you've known for some time, and his interactions with the other two lead actors are also quite realistic. Speaking of those actors, they're played by Amber Lewis and Richard Olak, two unknowns who also come across as totally genuine people. Initially I was put off by Lewis' dialogue as I felt she was sort of all over the place, but once the full scope of the film comes into play you realize it was all done on purpose and exceptionally well at that. Olak may be the weakest of the three mains, but even he adds a lot to the film, particularly in a couple of scenes where he starts to let his anger with the Simon boil over and come to the surface. Suffice to say, these may not be household names, but Scattergood, Lewis and Olak do more than enough to keep you engrossed at all times. That's of the utmost importance, because as we know, caring about the characters makes everything that much more enjoyable, so its nice to see everyone working so hard here to make that happen.

"I hope that's a smudge because if not that's one ugly man that goes there."​

It's very difficult to talk about Skew without giving away too much of the plot, since its all tied up in one nice and neat package towards the end of the film. However, the basic premise here is that Simon begins to notice that anyone he films with his new video camera (outside of Eva and Rich) have a strange blur on their face. Soon after filming anyone with this blur, that character ends up dead, sometimes in quite fascinating ways. In fact, at one point he films an entire bus full of people who subsequently end up in a horrific crash. Even though he knows that this is happening, Simon continues to film with the camera anyway, seemingly uncaring of the situation he is partially responsible for creating. It's this slightly unknown motivation behind his actions that drives the film forward. Before its over we come to realize at least part of the reason why he's doing it, though the film does choose to leave us with some questions when all is said and done. Those questions concern both the fate of some characters including Simon himself and the reason behind why the camera is deadly. It's this partial ambiguity that allows Skew to stick with you long after its finished and while its certainly not a perfect film its more than intelligent enough to merit a watch or two.

"In the afterlife they become civil servants."​

I've done a little research into Skew and cannot find any box office information for it at all, which leads me to believe that it was strictly a direct to video affair. That actually serves to make the film seem even a little creepier, since the lack of theatrical release means it could all be real. Well actually no it doesn't, but I like to try and convince myself of these things in order to enhance my overall experience. Thankfully Skew does enough things right that I didn't have to resort to this tactic and I do think its one of those rare found footage films that requires more than one viewing to "get". So with all that being said, I'd definitely recommend you seek this one out if you're a fan of found footage films but also like to wear your thinking cap from time to time. 7/10.

Tomorrow, one small step for man is one giant leap for found footage horror."​