Review: The Reef (2010) [Reviewed by Stuart Wahlin]

Starring: Adrienne Pickering, Zoe Naylor, Damien Walshe-Howling, Gyton Grantley, Kieran Darcy-Smith

Director/writer: Andrew Traucki

Grade: B+

Yes, I’m one of those folks who chomps at the bit 51 weeks out of the year, eagerly anticipating the arrival of Shark Week, which I watch from below a huge oil painting of a Great White stalking the depths, hung in a position of honor above the fireplace. The bar in my home, nautical in theme, is adorned with shark jaws and other maritime treasures. Hell, there’s even a baby shark in a jar. It’s fair to say I love sharks, man-eaters especially.

I thank Jaws for that, and Spielberg’s masterpiece is the standard by which all other shark films are judged. Despite how far the Jaws franchise has fallen since, the original film remains not only a horror classic, but a great film, period. It is one of those rare exceptions in that the film version is actually better than the novel. 

Naturally, I perk up every time I catch wind of a new shark movie hitting theaters or DVD. Subsequently, I’m always disappointed. One of the most popular and successful in recent memory, Deep Blue Sea, was just plain awful, in my opinion. Few things irk me more than CGI sharks. They don’t look real and they’re just not scary. If I wanted to watch cartoon sharks, I’d stick with Jabberjaw. Even Spielberg’s “Bruce,” the mechanical shark that never seemed to work during the filming of Jaws, was scary--because you could tell it was a tangible thing in the water with the actors.

Bruce’s lack of cooperation with the filmmakers resulted in what I call a fabulous disaster, though. As much as Bruce’s aversion to salt water made Spielberg question his future in movies, the result was seeing much less of the shark in the first hour of the film, thus heightening the suspense--that same suspense one might feel while treading water in the ocean, wondering what is lurking around you beneath the surface. Weave that with a little footage of real sharks, and you’re halfway to something that will scare people to the safety of hotel swimming pools, rather than playing Russian roulette with Mother Nature by venturing into the surf.

A 2010 Australian film called The Reef, apparently based on a true story, is about as close as anything has come to touching Jaws, and it’s worth watching. If you’re just looking for a recommendation, you’ve got it. Stop reading, and check it out. Warning: Spoilers ahead.

The Reef is director Andrew Traucki’s second feature film. Pleased with the job he’d done on his first, Black Water, an effective crocodile flick also based on true events, I suspected it would be worth seeing.

The story: Luke delivers sailboats for a living. Nice, huh? He and his first mate, Warren, are joined on a delivery cruise by three of Luke’s pals, Matt, Suzie and Kate, one of Luke’s old flames. Along the journey, Luke decides to impress his friends by taking the boat toward a reef for some snorkeling. 

A sense of foreboding belies the frolicking as schools of fish are seen to scatter. Meantime, the boat drifts dangerously close to disaster as the reef threatens to tear open its hull. The four friends hastily take their raft back to the boat. After some tense moments, Luke seems to have maneuvered the craft out of danger. But then, of course, they destroy their keel on some coral anyway, and quickly begin taking water, which capsizes the boat. Warren, knowing that large predators could be nearby, is quick to get out of the water. 

As the five ill-fated travelers collect their thoughts and supplies atop the capsized vessel, Luke determines that not only is the boat sinking, but that it’s drifting farther from land as it does so. He estimates they could reach an island after a 10-12-mile swim. The five must now decide whether to remain on the boat, hoping for rescue, or to swim for it. The sense of anxiety escalates as a large shadow is seen looming in the water.

Warren wastes little time deciding that he’ll take his chances on the boat. Meantime, Luke retrieves wetsuits from an air pocket inside the disabled boat. As the other four put them on and prepare for their long swim, Warren reminds them that the wetsuits make them look like seals, a favorite meal for Great White sharks. Still, the others are committed to swimming for land, and Warren and the boat disappear on the horizon behind them as they embark on their journey. According to an afterword, no trace of Warren was ever found.

The swimmers soon see a hump in the water. As they get closer, they realize it’s a large sea turtle. Approaching it, they discover the turtle has become a snack for Mr. White. Around this time, the group begins catching glimpses of something else in the water with them. They are being stalked, and start to get picked off, one by one. When the first victim’s leg is bitten off, Matt’s companions rush to his aid, but he urges Luke and the two girls to leave him to die, for their own safety. Not having to be told twice, the remaining three swim on as night begins to fall, but there are constant reminders that they are still being followed.

Hysterical and hopeless, the three somehow manage to fall asleep in the open water. When dawn arrives, Luke is the first to wake and notice an island on the horizon. With renewed hope, the three continue toward it. Between themselves and shore, several rocks can be seen jutting from the surface. 

They reach the first one and perch themselves atop it, taking a brief rest before heading for the next. The tension rebuilds as we see schools of fish scattering once again. Oh, yeah, there’s also a fin slicing through the water, but it turns out to be a dolphin. Just when the mood seems about the lighten, another fin appears, and the Suzie is savagely taken by the stalking shark. Luke and Kate, who’ve managed to rekindle their romance during all of this, make it safely to another rocky perch.

Before making one last dash for the nearby island, however, Luke opts to swim back to where their devoured comrade has left a floatation device. This is where everyone watching the film does a face-palm, but Luke safely retrieves it before they embark on the home stretch to land. Using his diving mask first, Luke surveys the sharp drop-off that lies between them and the rocky island. He sees only blackness.

More tense moments ensue as they struggle to climb the rock wall that stands between them and the safety of dry land. Long story, short here, she makes it, but Luke is devoured.

Final thoughts: Now, although this film is supposed to have been based on real events, I’m willing to bet liberties were taken with the story, because they always are. The climax works, but I prefer my own idea for an ending: As they make their way closer to the island, reaching the final rock standing above the surface of the water, they should have discovered the island is actually a seal colony, where Great Whites feed at will. So, instead of moving toward safety, they would learn they’ve actually been headed into even worse danger. That point of hopelessness, when they’d be left to decide between staying on that rock, or dashing for the island they’d assuredly be eaten before reaching, is where the film should end. Still, The Reef is good nail-biter I’m happy to recommend, especially to those who share my craving for stories of sharks with a taste for human flesh. 

Review: WTFU (2010) [Reviewed By Clifford Kiyabu]

Directed by: Allison Lane
Written by: Allison Lane & Chris Ritter
Genre: Short / Comedy
MPAA: Not Rated
Released: September 2010
Starring: Dan Brennan, Allison Lane, Wade Foster, Ed Cryer, Allison Mosier, Tom Miller, Erin Cronican, Rich Fromm

Plot: "The Producers" meets "Good Morning America" in this hilarious (and seriously wrong) 26 minute award winning comedy, based on the hit web series "The Morning Bitch"

Review: 7/10

The Story is about: based on the hit web series THE MORNING BITCH, WTFU is a hilarious short that focuses on a Long Island talk show producer (Brennan) stuck in a dead end job and wants to seek a more adventurous opportunity, but his boss, the president of the network, won’t let him out of his contract unless he pays back every cent he‘s ever earned from the network, so without many option left to his disposal, he finds a way to get himself fired but replacing the co-hosts of the network’s highly rated talk show and replace them with two rude, Obnoxious and racist individuals you’d ever imagine on morning television, but what happens when his plane begins to back fire on him?

My Thoughts: There’s nothing more undesirable than winding up in a dead end job. You know the type, one that allows little chance for new and existing creativity to happen (basically it‘s the SSDD routine). It’s a pain, having to wake up to such a feeling (or so I‘ve heard) and very often, the person going through it will from time to time question themselves: “Why do I do it?” Well that’s where this delightful indie short WTFU comes into play. WTFU is written by Allison Lane and Chris Ritter and is also directed by Allison Lane whom co-stars in it.

The film follows Dave Grayson (Played by Dan Brennan) a successful morning talk show producer for a Long Island based show called “The Morning Dish”. having worked this job day in, day out, for well over a decade, Dave wants something new, fresh and exciting in his life rather than the same old routine. And when he gets a job offer from a major international news agency, Dave doesn’t waste time contemplating over it and decides he’s going for it, only problem is, the contract he signed (Let this part of the story be a lesson for any one signing a contract, under no circumstances do you sign any contracts unless you and your lawyer has given it a thorough examination before you put pen to paper) with the job he’s currently with dictates that if there is a breach of contract on his end in any way he’ll have to pay back every penny with a percentage of interest added on. So being shit out of luck and jolly well F… well you get the idea, he comes up with the ultimate idea; if he can’t quite or convince the boss to release him of his contract, then maybe he can get himself fired by generating enough complaints into the station regarding the show he runs will be enough grounds to have him released of his contract. This of course leads to him changing his show “The Morning Dish” into “The Morning Bitch” (Yeah you read that last sentence right) and the end result is a slow of edgy humor that some might consider Taboo, but it works very well in this case.

While the film seriously lacks in run time (Sorry folks but it‘s a sort and only runs about 20-something minutes) it makes up for it with very acceptable acting and a slip of the tough sense of humor. This is of course all due to the talented writing by Allison Lane and Chris Ritter. The plot, though short due to run time, is very entertaining and relatable, but the real gem lies in the hilarious dialogue the film shovels out at you, and while the short doesn’t exactly serve as a prequel per se, it does set the viewer up for the source material that is also equally entertaining, as proof of this I had not seen any bit of “The Morning Bitch“ prior to viewing WTFU, but after viewing the short, I curiously enough decided to check out the webisodes which are available online for free and my conclusion is that though the film doesn’t feel like a full blown prequel, it does however, pay homage to the original source material and set’s the viewer up for the loads of shorts that await them online. WTFU may have its flaws, but it’s creativity and raunchy humor will have viewers laughing constantly at some of the most outrageous and edgy moments.

As for the acting: The acting was great, Dan Brennan as always did a fantastic job in his performance, he brought a real charismatic feel to the role that makes it incredibly hard to not like him, from the first frame, you’re already rooting for him. She can deny it all she wants, but it seems painfully obvious that Allison Lane is in fact the writer of this film seeing that her character had many of the best lines in the film, including some of the most memorable jokes I might add, one line in particular takes place in a coffee shop where she tells Grayson (Brennan) that her “Closest friends call me sugar t**s” her talented performance as Patty Foster was unbelievably funny and sometimes outrageous, and add that with her co-star Wade Foster as Hudson Lane and you good sir, have a charismatic duo who’s humor stand out great alone but is amplified tenfold when together on camera [Interesting fact: If you noticed, the last name to Lane‘s character is Foster, and Foster‘s character is Lane, which are the opposites of their real names vice versa]. Ed Cryer did a fine job as Sheamus Goldenblatt. Whats fascinating about Cryer, is that he has a natural presence about him that if comforting and brings a sense of wisdom to the character. Allison Mosier did very well in her supporting role as Shelly Tibbets, also in the supporting role that did extremely well is Jack Reiling who seemed to be the butt of a few sexual jokes in the film and as well as Chris Douros, Douros is no stranger to this film group as he has acted alongside both Brennan and Lane in various other projects which also includes “The Video Guys” and “Maggie Marvel”.

Final Say: WTFU was a highly enjoyable short and while the disappointing fact that it goes by way to quickly looms over it like fog over the surf of a lake, one could argue that it deserves a follow up or even dare I say, a full length adaptation to spring out of it someday. Either way it does execute its prime directive quite nicely, I won’t say it’s a masterpiece that rivals all other comedic short films out there, but it was no doubt a blast of a time to view and I recommend checking it out for what it is.

Copyright 2011 TCWreviews.com
All Rights Reserved

Review: Frog Dreams (2011) [Reviewed By Clifford Kiyabu]

Directed by: Daniel Jordano
Written by: Daniel Jordano
Genre: Drama

MPAA: Not Rated
Released: 2011
Starring: Daniel Jordano, John Squire, Toni Vitale, Kara M. Tyler, Keith Jamal Downing, Lauren Steffany.

Plot: The personal lives of two complete strangers become entwined with each other after a car ride one afternoon, and through it all they rely on each other as they confront their own inner problems.

Review: 7/10

The Story is about: Jim is a coke addicted, fund manager who just lost his job and millions in the recession. Mickey is the man-with-a-van mover Jim hires to help him transport his file boxes to storage in Pennsylvania. The two become unlikely friends and help each other gain a new perspective in their struggle to recover their lives and their manhood.

My Thoughts: There‘s an old saying "When life gives you lemons make lemonade”, well what happens when lemonade doesn’t quite serve up lemons in it? Nothing in life is as picture perfect as it’s perceived in the movies or TV shows, majority of folks will be lucky to just settle for average in the rat race of life, because in reality life doesn’t give you lemons, it gives you shit, and a lot of it to be frank. And more then usual it’s much more complex than making lemonade, because there is no simple black and white to all of life‘s problems. Trust me, there’s a whole lot of gray in the middle, like the human body, life looks simple on the outside until you cut into the skin and it reveals the complexity of it’s circular pluming.

In his directorial debut Writer/Director Daniel Jordano lays out an important message to his viewers in the film FROG DREAMS, a message that’s in many ways is sincere and true to life itself. You’re not going to get everything you want in life, but boo f****** hoo, life goes on and you need to man up and take the hand you’ve been dealt and deal with it. The perfect example would be one of the film’s primary characters, Mickey Chanos (Played by Daniel Jordano), here’s a guy who had a decent job writing medical books for the medical field, he had it all, a great pay to support his family that included benefits, however his real passion is really writing children’s books and as you know there‘s very little time to write a children’s book when you‘re busy writing complex medical books, so he makes the biggest decision on his life and quits his job to pursue a career which suits him more. But because of his inability to deal with his inner fears with moving forward with his dreams he’s left to settle for the alternative which is anything that keeps his mind occupied, which in this case is being a self-employed mover. His decision leads to him living out of his own car while his wife and son live their own lives without him. He is obviously regretful for some of the actions that led him down this path but cannot find it in him to fully progress beyond his current situation in life until he meets Jim Evans (Played by John Squire) a choke addicted (financial) Fund manager whom has just lost his job in the industry after blowing millions in investments in the recession and is looking for someone to help him move his stuff. After the two become acquainted their personal lives and dire situations become entwined with each other.

Frog Dreams might not be the Oscar worthy indie drama most people kill to see, but it’s proved to be a very interesting conversation piece that worth looking into to say the least. The general plot is appealing and very relatable. Watching these characters and their inner personal problems bleed out in the open before each other leaves each of the characters venerable, but it’s their vulnerability and the risk taken for another human being that’s a complete stranger none the less, that’s also strengthening and leave both with a unlikely friend out of the ordeal which I found to be heartfelt and quite powerful. For an indie on a small budget, Frog Dreams stands out for having top notch film quality that I can honestly say can rival some bigger budgeted Indies I’ve seen in the past. The dialogue plays a major part to the film as much of the movie takes place in or around the characters conversing between each other, and while the dialogue at times proved to be compelling and helps the film progress, it also plays as it’s Achilles’ heel because the film tends to slow down and drags on in certain areas. But that’s easily forgiven as most conversational dramas like this tend to do the exact same thing from time to time. What I did feel was a deal breaker for me though sort of speak, was it’s underwhelming ending that left me feeling like things didn’t quite get resolved as I would have liked it to have. Throughout the film we’re presented with multiple obstacles for both Mickey and Jim to overcome, and there is a clear presence of tension building up big to one of these obstacles (I‘m not gonna spoil it so bare with me here) and when the time arrives for this moment of truth we’re left under-whelmed with a less then par result that to a degree angered me. However despite the disappointing hiccup of a ending Frog Dreams still has a lot of value in it that is something worth looking into.

As for the acting: the acting was a slight mix bag here, from having some solid performances to just okay performances to underwhelming performances. I’ve always been the type of person who starts off with the good news so lets start with the good shell we. Daniel Jordano performance as Mickey was superb and serves as the perfect complement to John Squire’s performance as Jim, it’s pretty clear that the chemistry onscreen resonates from a real life friendship between the two as there is a sense of authenticity present here, which means that either they’re friends in real life or this is proof of fantastic acting between them. Kara M. Tyler delivered a incredible performance as Sophia Chanos, her performance as an angered and emotionally hurt spouse was just and true to the character and deserves kudos for it. Keith Jamal Downing was very exceptional as the drug dealer Rashad, serving as the film’s antagonist, though one would argue that the real enemy in the film was actually the main character’s themselves at times as their own worst enemy for holding themselves back at achieving their goals true goals. But Keith still pulls off an exceptionally well performance I did have one slight complaint here, while he did a fantastic job for the most part onscreen the end scene felt a bit held back for the character and should have gone further. still though, it’s only one minor problem. Toni Vitale gave an acceptable performance as Marisa Evans, though I would have liked to had seen a little more tension onscreen between her character and John Squire’s character. Her performance was still very acceptable in my opinion. Lauren Steffany performance as Kristen Evans was one of the major problems I had in the film. Her character felt painfully unmoving for someone who’s been disappointed by her father her whole life, nothing against the actress as I’m sure she’s a decent actress to boot, but her performance came off as mild and noticeably scripted, as a viewer, not just a critic, I should be taken in by the characters in the film and feel for them, their emotions is what connects the viewer to them and more importantly, the story, and sadly I was not feeling this with Lauren as Kristen.

Final Say: Like many films, Frog Dreams suffered from the same generic problems most movies tend to encounter especially with keeping focus on the main plot, yes it’s very flawed and there seems to be a slight issue with plot pacing from time to time. But the film did present a very interesting and somewhat empowering message, that life isn’t going to be easy and it probably never will for some, but just because life is going to be rough doesn’t mean you should just through in the towel and give up, that you should man up can take what’s dished out and continue moving forward. Frog Dreams may not have been the masterpiece I would have like, but it’s certainly worth taking a stab at.

Copyright 2011 TCWreviews.com
All Rights Reserved

Review: Ill Square (2009) [Reviewed By Clifford Kiyabu]

Directed by: Edgardo Flores Written by: Edgardo Flores
Written By: Edgardo Flores
Genre: Comedy/Musical
MPAA: Not Rated
Released: 10 August 2009
Starring: Barry Schwam, Edgardo Flores, Joe Fraley, M. Running Bear Bunch

Plot: An ill depressed man in search of love, a neurotic old git and a lonely documenter converge in this offbeat, experimental musical.

Review: 5/10

The Story is about: Three tales converge in this mind warping directorial debut by Edgardo Flores. A love sick man (Edgardo Flores) sits at home broken hearted and hopeless. After months of rebuilding his confidence, he sets out to find his one true love, but what he ends up with instead is something far more complex. Meanwhile, a neurotic old man (Barry Schwam) and his son (Joe Fraley) prepare for a zombie invasion, after an emergency broadcast sends them off. Armed with a pellet gun and a hand saw, this father son duo will stop at nothing to save the world.

My Thoughts: Originality is a hard thing to come by these days, especially in the film industry since it’s a rat race to the finish line for the next big idea. Filmmakers and writers pushing the envelop and taking things up a notch all the time, pushing the boundaries between what’s acceptable and what’s not. And most importantly, what’s never been done before. And every once in a while there will come a film unlike any another. And when that serendipitous moment arrives for a viewer, it’s always one they’ll soon not forget.

As I sat quietly in my chare viewing Writer and Director Edgardo Flores’ directorial debut “Ill Square” for the first time, one pivotal thought ran through my head as the film began to play out… Just what the heck is a “Ill Square” anyway!?!? Well the answer hit me like a solid brick to the face. Ill Square is a offbeat experimental musical on a very low micro budget of about $2000. Now I know that the idea of a overly ambitious filmmaker directing a low budget indie doesn’t quite go together seeing that it’s the perfect combination that equals for total disaster most of the time (More common then we‘d like I‘m afraid ), and lord knows how many times I’ve personally seen that unfortunate scenario play out in the past. But in this case it doesn’t quite end completely that way. Flores brings something very much different to the table then most wouldn’t be accustom to in a indie feature, to best describe what this cinematic experiment actually is would have to compare to something in line that Tim and Erick from “Tim and Eric Awesome Show, Great Job!” would proudly make had they gone into the feature making business, and with that being said the film works very well for being just that, an experimental piece of filmmaking which no doubt earns my respect for taking a leap into the unknown for this type of genre let alone going into making something as ambitious as this with no sureness or guarantee of an outcome, and only being armed with a loyal cast and a skeleton budget, I tip my hat off to Flores for doing this. The story basically follows a handful of different individuals who’s plots take much different courses of action in terms of theme, one being of a man who’s brokenhearted and hopeless to the love he has for the woman who broke his heart, and after finally building up the confidence to win her back he discovers a shocking revelation. The story proves to be interesting to say the lease, but unfortunately fails to maintain a strong grasp over my attention long enough to keep a hold on me at times mostly due in part that the first story felt overly bland, making it somewhat bitter.

The second story follows a lone documenter who quietly ventures around the city and transit stops filming random people, though this story has no particular plot it does serve the film with some lovely shots of random locations as well as a few interesting people along the way that proves to be quite interesting that a artsy crowd might appreciate. And if you don’t appreciate it then it will also serve the viewer as the perfect intermission point before the next plot driven story starts back up. Now with that said, the third story follows an old man and his son who has purposely trapped themselves in someone’s empty house in the middle of the night after hearing an emergency broadcast over the car radio claiming of a zombie invasion (which if you‘ve been following the previous plot lines then it's most likely a radio prank gone wrong) armed with only a pellet gun and a handsaw the father/son duo prepares for a zombie apocalypse. In all honesty the third story is actually where the film becomes extremely entertaining as it serves up both comedy and horror to the viewers in a very pleasing way. Sadly, because the film bounces back and forth between storylines it leaves you waiting to see the father/son due back in action on your screen rather then the other interconnecting storylines. Now with that said the other flaw I found was that the film prides itself on the music numbers in the film's description, yet much of the music doesn't quite hold up to be the slightest bit memorable and comes off as easily forgettable, which is not the fault of songs themselves but rather it just doesn't fit in with it all to well. But the film’s biggest problem seems to stem from a lack of proper story pacing that would connect these stories together in a more understanding manner and because these stories are very different in terms of theme, it makes it incredibly difficult at times to keep up with the pacing making you wishing the film would just settle with watching the quirky father/son due for the duration of the film rather then anything else, which is not an attack on the other plots in the film or the filmmaker, but rather pointing out the flaws in a constructive manner, because Ill Square is in itself an interesting piece of indie work made out of next to no budget and little film tech at it’s disposal, and I have no doubt in my mind that it’ll gain a cult following with time. My only wish is that Flores will see these flaws presented here and ratify them in his future endeavors.

As for the acting: Well the cast did a fairly okay job here, though the real eye catcher is no doubt Barry Schwam, he brings a truly captivating persona to the table that has a life of it’s own, and at times it proves to be an overwhelmingly compelling personality that is extremely hard to ignore then alone dislike. Joe Fraley’s performance only further complements Schwam’s performance with his Simple Simon attitude towards everything, especially everything being told to him by Schwam’s character. Edgardo Flores, who not only wrote and directed the film, but also starred in it, did a pretty good job in his performance, though I really did wish there was more life and emotion put into his character, because the biggest flaw to Flores’ character is that it lacked the emotion one would have had they just gotten their hopes knocked to the curb with a curve ball. As of the rest of the cast, they all did pretty decent in the film, however, because of the third storyline taking the biggest interest here, it’s hard to really follow the performances of the rest of the ensemble cast with a earnest opinion of those actor’s not directly involved in that particular plot.

Final Say: although Ill Square was not the slam dunk I would have liked, it was still very much interesting jumping into, and despite my not recommending it or giving it a somewhat low rating, Edgardo Flores is a filmmaker who is now on my radar as one to lookout for in the near future, and I very much look forward to seeing him prefect his craft.

Copyright 2011 TCWreviews.com
All Rights Reserved

Review: The Absent (2011) [Reviewed By Kelsey Zukowski]

Starring: Bryan Kirkwood, Denny Kirkwood, Sam Ball, Damon Abdallah
Directed By: Sage Bannick
Written By: Sage Bannick, Damon Abdallah, Ari Bernstein
Grade: D-

The best part of The Absent is the very beginning, which is more of a backstory than anything else. It shows two greedy parents who conspire to kill their own son so they can benefit off the insurance money. This sounds crazy enough, but watching them put this plan in to action is pretty entertaining. Even better, their son is no dummy. He knows what they’re doing.

Imagining what it would be like to be that age and for your parents, those who are supposed to care for you and love you unconditionally, to try to kill you is pretty hard to wrap your mind around. Luckily, this kid is smart and he decides to turn the tables on his murderous parents, leading up to their final bloody fall and Oscar’s jail sentence.

I’m not saying the beginning was anything great, but it was enjoyable enough just to watch everything unfold. Honestly, I think it would have been better as a short film just dealing with this subject matter. Instead, the film fast forwards to Oscar as an adult, getting out of jail. This already exposes two flaws: he would not have been in jail until he was nearing middle age, for a crime he committed at that young of an age, and it is not even clear if he was released or escaped from jail. The Absent is full of plot roles though, such as there only being one sheriff in the town and the only one investigating a string of grisly murders, leading back to a serial killer. So in retrospect these are some of the more minor offenders, the worst comes at the end, where the whole film falls flat and any merits that it did have being shattered.

Oscar comes back to find his brother, Vincent, having a relationship with one of his students. Without making his presence known Oscar sets out to help his brother keep his dirty little secret by killing off anyone who might be suspicious or have knowledge about the affair. One by one he kills off Vincent’s students, marked absent from there on out.

The acting wasn’t all that good, especially the parts with the sheriff, which were all in all just atrocious. They were cheesy, horribly overacted, and ridiculous. Some actors can bring out the best in those they work with, giving them something good to work off of. Sam Ball is the opposite. Anyone he was in a scene with he seemed to make worse, almost as if his bad acting was contagious.

I don’t know how much of the running time consisted of random landscape shots that didn’t appear to have anything to do what was going on in the film. It really just felt like filler. If it just looked beautiful then at least it would have been something pretty to look at, but the shots and scenery were nothing all that notable, for some reason though the cinematographer was clearly obsessed with them. There is even a horribly random cut to a wolf after a scene with Vincent and his student, then after a second or so cuts to another completely different scene.
I try to keep an open mind about a film until it’s over, even if my opinion is clearly being steered in one direction. I did this with The Absent, but it ruined anything it had going for it with the ending. If it was just a bad or pointless ending, that would be unfortunate, but even worse it tries to pull the twist ending that is so contrived and artificial; if it were true than nothing else we say in the film would be. I’ve seen this before and it’s one of my biggest pet peeves with films. Sure some can do the split personality, blurring the lines of internal and external manifestation like Fight Club, but most films that try this are kidding themselves if they think there is any real merit in what they’re doing aside from trying to trick the audience and shock them in to having the film stick with them.

Review: Machete (2010) [Reviewed By Clifford Kiyabu]

Directed by: Ethan Maniquis & Robert Rodriguez
Written by: Robert Rodriguez & Álvaro Rodríguez
Genre: Action / Comedy / Crime
MPAA: Rated R for strong bloody violence throughout, language, some sexual content and nudity.
Released: 3 September 2010 (USA)
Starring: Danny Trejo, Robert De Niro, Jessica Alba, Steven Seagal, Michelle Rodriguez, Jeff Fahey, Cheech Marin, Don Johnson, Lindsay Lohan,

Plot: After being betrayed by the organization who hired him, an ex-Federale launches a brutal rampage of revenge against his former boss.

Review: 6/10

The Story is about: A highly skilled Federale Machete (Trejo) is hired by businessman with illegal dealings to assassinate a U.S. senator who‘s at the helm of anti-immigration radicalism. But soon realizes he's been set up and past off as a patsy in a devious plot by those in higher office. The man without a country of his own is out revenge on his former employers, with the reluctant assistance of his holy brother father Padre Cortez (Marin) and Luz (Rodriguez) a young woman who’s helping those seeking refuge in the states, and Sartana Rivera (Alba) a sexy ICE agent who’s bent on upholding the law. Together they make the bad guys wish they‘d never existed!

My Thoughts: In 2007 Director Robert Rodriguez teamed up with director Quentin Tarantino to direct Grindhouse (2007), a double feature experience that were created as an homage to the lost genre of the 70‘s and 80‘s. Among the double feature were a series of fake trailers that played before the start of each film, among the list of fake trailers were films like: WEREWOLF WOMEN OF THE SS, DON‘T, THANKSGIVING, HOBO WITH A SHOTGUN, and MECHETE. After seeing the fake trailers I became just as enthusiastic about these trailers becoming a reality as the rest of the fan base were, because it was just as entertainingly enjoyable as the film’s they were attached to. So after three long year the fan base finally got what they’ve so desperately wanted. A full Machete adaptation brought to the big screen. What many don’t know however, is that the story of MACHETE was not actually written to be a fake trailer but rather conceived by Robert Rodriguez before he had written the script for Desperado and that the development of the project has been a long labor of love.

So what’s the verdict? Well to put it so simple and straight forward is not that easy, while the film works on one level it simply does not on another, and sadly the film repeats going down this depressing course of action repetitively throughout the course of film‘s run. The Good: The start of Machete is pure nostalgia for any Rodriguez fan out there as it brings a delightful splice between his work on “The Mariachi Trilogy” (AKA The Desperado Trilogy) and his work on Grindhouse, which brought together formulated into it‘s own as a bi-product, it works because it put’s Rodriguez in the zone of what he loves to do most which is making highly entertaining action driven films cuddled with rich Latin culture which he seems to execute quite nicely here, also seeing Danny Trejo and Jeff Fahey reprise they’re roles from the fake trailer was fantastic and seeing most of the scenes from the trailer strategically placed in the film was genus work on Rodriguez‘s part. The Bad: however, while the film seems to work well on the level of being entertaining it fails miserably on providing an adequately entertaining plot that moviegoers can enjoy, instead of giving the viewers a plot that’s worth their wild it ends up becoming overly repetitive and highly predictable to a mind numbing state. For example: Machete kills a bunch of bad guys then winds up with a young beautiful woman in his arms, then gets wounded. Later he winds up killing more bad guys and then, surprise, surprise - He winds up with another young beautiful woman in his arms and then get‘s wounded.. Again!. Sadly this becomes repetitive mostly throughout the whole film and doesn‘t add any new twists or turns that haven’t already been seen coming a mile away.

And The Ugly: it’s pretty obvious that Machete was made with the intention to be an inspiration to those of Latin heritage but I can tell you that I, being someone who has both Spanish and Latin ancestry felt more insulted by the portrayal of Latin’s in the film then inspired. But I digress, the main problem wrong with Machete is that it got a little too political at times instead of being just a all around fun rollercoaster ride of action meets entertainment like Death Proof and Planet Terror was. Simply put, Rodriguez couldn‘t make up his mind on what he wanted the film to be, at some points the film expresses a unreal sense action to the viewers but then demands to be taken seriously. As much as Rodriguez refuse’s to admit it, the film’s timing did seem a bit too coincidental coming out around the same time as when immigration reform is now a hot topic in the country again. In hindsight to what I’ve said. I really wanted to like Machete because the Grindhouse Trailer showed it had soo much to offer moviegoers but instead, wound up becoming mediocre at best

As for the acting: as much as I disliked the portrayal of the characters in the film, the actors did a fantastic job in their performances. First off Danny Trejo is probably one of the hardest working actors in the industry, the man just doesn’t know what it means to take break as he’s working on more projects these days then some of the biggest paying actors do in a few years, and no matter how awful a film may be he always known’s how to shine a little light into it be simply being in it. I know he made the Spy Kids films somewhat bearable just for being in it. His performance in Machete was like watching a Mexican version of Rambo, no I take that back, he is the Mexican Rambo! His performance was outstanding, it was so impressive to see him reprise the role of machete without missing a beat that it was extremely difficult at time to tell the scenes of him from the fake trailer and the new scenes apart. Robert De Niro is a fine actor who’s done some incredibly work, but his performance as Senator McLaughlin didn’t do him any justice on his career I can tell ya, I’ve seen him do a better performance in The Adventures of Rocky & Bullwinkle then this film, but on the Brightside, at least it’s better then any of those Focker films he‘s been in, I mean those are just painfully awful.

No matter how cheesy a film may be, having Steven Seagal, Jeff Fahey, Cheech Marin, and Tom Savini in it is a guarantee win-win on the entertainment level. Sure these guys are old, and out of shape, and probably waaaay past their prime, but having them together on screen is a sight none the less. Michelle Rodriguez was fantastic, but I may not be the only one (yikes I hope not!) but I enjoyed her much more as an actress when she had a harder body. I know she wants to feminine up but it also take a way from the bad-ass persona we were first introduced with all those years ago with Girlfight, Jessica Alba was mildly enjoyable, but if there’s one thing that irritated me the most about her performance in this films, it’s that she lacked complete personality, back in the day she could act, and would always give it her all, but now days it seems like she’s just phoning in the performance for the paycheck. Don Johnson on the other hand was a pleasant surprise in his performance as twisted border vigilante Von Jackson, who’s persona bore a strange familiarity I can‘t quite put my finger on. But if there’s any person who’s gone to the top of the mountain, fallen down to the bottom, climbed back up, only to fall back on her ass it’s Lindsay Lohan, it’s been years since the starlet has proven she’s still got what it takes to be in the big leagues, and though her performance in Machete doesn’t help her cause, she still managed to pull off a reasonable performance as April AKA Sexy Nun!

Final Say: When I initially heard about Machete being turned into a full length feature I was thrilled beyond belief, now that I’ve seen it I kind of wish it had stayed as a fake trailer, at least that way I still would have retained all my hope and love for the project. Though I hold disappointment towards the film I still hope for improvement in a sequel if one should ever be made. It’s defiantly not a recommendation to buy but is a rental fair.

Copyright 2011 TCWreviews.com
All Rights Reserved

Review: Road to Victory (2007) [Reviewed By Clifford Kiyabu]

Directed by: Mike Reilly
Written by: Mike Reilly
Genre: Drama
MPAA: Not Rated
Released: September 22, 2009
Starring: Mike Reilly, Julia Benson, Poppi Reiner, Peter Abrams, Winston Brown, Clay St. Thomas, Keith D. Humphrey,

Plot: A star athlete on the verge of turning pro must decide which dream to pursue while he battles his own body.

Review: 8/10

The Story is about: An injured college athlete, accused of taking steroids, falls for a stripper, but is unable to perform sexually. The relationship oscillates between tender and cruel; issues of infidelity, along with doubts about his ability to father children arise, as his on-field performance begins to decline, putting his draft status at stake. Road To Victory is a thoughtful look at the role of gender in the patient / physician relationship, limits imposed on physicians by changes in the health-care industry, and even the limits of drugs designed to replace the physicians. It asks the question of what level of fidelity is acceptable in a relationship where sex isn't possible. And lastly, it looks behind sensationalized media headlines over steroid abuse, at the human elements that really drive athletes to succeed, and the price associated with the choices required to achieve that success.

My Thoughts: The journey to one‘s recovery is a process that often at times leave tire marks on the human psyche as it is filled with stress and emotional pain that will take it‘s toll on the most strongest of willed people, and a fight to win this recovery isn’t always a simple one. But the anecdote to the journey is a well deserving lesson to be learned, to heal; one must be ready to choose to let go the thing they love most or that which completes them, which are never always the same.

When I first heard about Mike Reilly’s feature length directorial debut, Road to Victory (2009) I initially thought this was going to be another sports film because everything about it that was advertised commercially screamed ‘football’ movie! The trailer said it, the poster said it, even the synapses hinted at it. However when taking a closer look at the film (Thank goodness). You discover this film is far from being a sports movie, though football is shown throughout the film, it plays somewhat of a minor role at best to the plot. What the Road to Victory actually turned out to be is a very powerful and engaging his & her relationship film that dug deep into the real problems some couples face once the honeymoon of the relationship has passed, such as intimacy issues, and feeling suffocated by each other which leads to communication between one and other to break down into a bitter ending. Unfortunately for the main characters of RTV, the cute puppy love period of the relationship was over before it even began. The main characters, Elliot (Mike Reilly) and Anna (Julia Benson) are experiencing some pretty though obstacles to overcome only three months into their relationship. Elliot, a star quarterback football player on the verge of professional football stardom is having trouble being able to perform sexually with his girlfriend due to low testosterone levels, the decrees in testosterone is also affecting his ability to perform antiquely on the field as well as on a every day to day bases. As the accusations about whether or not substance abuse had anything to do with his impotence pile on, he’s having an even harder time coming to terms with Anna working as a stripper at a local club. Anna is having a hard time dealing with their sexless relationship and is beginning to have doubts about their relationship together and if weather or not remaining with him is a good idea in the long run, a part of her wants to experience the experimental years of her youth in collage but retains too much ernest love for Elliot to just simple walk away. While they share a sincere love that goes maturely both ways, Elliot and Anna will be tasked with making the ultimate decision, can they’re love for each other be enough to save what they have together or will it be they’re undoing?

RTV was fascinatingly seductive, it lures the viewers in and capture they’re attention fully, it was the first mature romance drama for both genders I’ve seen in a really long time, most romance dramas out there are meant to cater to female moviegoers rather then it’s male counterpart. It’s an unfair tone the movie industry has stuck with for quite a long time, but thankfully Mike Reilly shed light on this problem and brought to the table a film that’s powerful message can be enjoyed by both sexes, and presents some very pressing matters. Substance abuse among athletes have been in the media quite often lately but only half truth’s behind the reason some are willing to make a compromise with their ideals. People love hearing or reading up on the gossip behind athletes being accused of taking steroids and the constant denial of it in hopes that eventually one of them will crack and tell all. It’s easy to take in the how and the when, but not the why, no one ever wants to hear why they took it, what magnitude of stress to maintain a picture perfect image we perceive of them were they under before deciding to forgo on such a disappointing path. And even if they’d fully explain themselves would you listen then alone believe it? The film explores the harsh reality most men go through when not being able to be 100% with their other half, contrary to popular belief; men and women are equally vulnerable emotionally, though most men may not express their inner emotional stress as commonly, the ability or lack therefore of, to perform harbor great emotional stress that takes it’s toll on both a man’s physical and psychological health over time.

But make no mistake about it, RTV is a relationship film first before anything else, and shows the reality of relationships and not the commercially manufactured version we’re sold by the mainstream industry. Real love isn’t the happy-go-lucky “love defeats all” message we’re told by mainstream films, real love is when the spark between a couple dims, or in most cases, die, and you find yourself gunning for each others throats half the time, thinking about how to get back at each other, but no matter how much you think you can’t stand to look at one another; you find that you cannot for the life of you imagine a life without that special other in it. Among other things, the score was truly remarkable, it set the tone of the film with it’s deep emotional overtones that proved to be quite affective in every way, I being a fan of movie scores found it to be one of the best attributes this film has going for itself, because it complements the story and graces every scene in just the right manner. Like all films though, RTV doesn’t go without flow and lags for the most part of the first act, but thankfully it‘s quickly saved towards the end of it‘s second act which picks up the momentum for the closing act.

As for the acting: movieScope Magazine in 2008 named Mike Reilly as 'One to Watch', before going into RTV I had no idea what they meant by it, was it his acting skills? his writing? Or maybe his directing? Well as it turns out it was all of the above, Reilly’s performance as Elliot proved to be extraordinarily entertaining, and I can certainly understand the appeal by movieScope for naming him “one to watch“, his performance as Elliot was outstanding because it project the troubling truth on what effects low testosterone levels play on the male mantle and physical state. His acting, though flawed, turned out to be quite enjoyable and shows great room for improvement with time. Most may not realize that Julia Benson have been in the biz for quite some time now appearing in mostly Sci-Fi shows and films, in RTV Benson portrayal of Anna was magnanimously wonderful. Her portrayal was spot on fantastic for a character that was a real love/hate combination for me, while I hated Anna’s overzealous negative treatment towards her boyfriend Elliot, the way she belittled him about his condition at certain points proved to be a real deal breaker in terms of liking the character. However, in the most dire moment of the film Anna is redeemed in my eyes when she show’s the willingness to stick by his side no matter what the outcome. The chemistry between both actors proved to be brilliant and worked on a believable level.

Final Say: Looking back at Road to Victory, it turned out to be more impressive then I originally expected. Ultimately it dares to ask an important question for both men and women. For the Men: are you man enough to put aside games to settle down and start a family? And for the Women: if your man suddenly became ill beyond medical ad, would you still stand by his side trough think and thin? though dreadfully hash these questions may be, it reminds us all one important piece of advice; be there for those you love no matter what, and always choose what’s right, over what’s desired. I highly recommend!

Copyright 2010 TCWreviews.com
All Rights Reserved

Review: Inception (2010) [Reviewed By Clifford Kiyabu]

Directed by: Christopher Nolan
Written by: Christopher Nolan (written by)
Genre: Drama / Sci-Fi / Thriller
MPAA: Rated PG-13 for sequences of violence and action throughout.
Released: 16 July 2010 (USA)
Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Tom Hardy, Ken Watanabe, Dileep Rao, Cillian Murphy, Tom Berenger, Marion Cotillard, Pete Postlethwaite, Michael Caine.

Plot: In a world where technology exists to enter the human mind through dream invasion, a single idea within one's mind can be the most dangerous weapon or the most valuable asset.

Review: 10/10

The Story is about: Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible-inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.

My Thoughts: A professor in philosophy once posed a question onto his students “How can you prove to me you’re not merely a part of someone’s dream?” the students were for the moment, clueless. After the silence had over stayed it’s welcome the professor of course told them the correct answer to the question which was: “I am able to think, therefore I am alive.” Hence one of French philosopher René Descartes’ most memorable quotes “I think, therefore I am”. but unknown to someone like René Descartes, who was born in the 17th century, the wonders of technology was still a distant dream away, but not unknown to the people of the 21st century, the possibility is but an invention away. As man relentlessly attempts to unlock the secrets of his own potential, the idea slowly becomes the reality, and the line’s that which separates reality from dream begins to grow more and more elusive. One can only imagine what the future will bestow us.

Director Christopher Nolan, the genus mind behind 2008’s blockbuster, The Dark Knight (2008). bring forth the stunningly eye popping psychological thriller, Inception (2010). A film that captures the terrifying possibility of a world where corporate espionage has reached horrifyingly new heights. Where a person isn’t safe in the most sacred of place, their dreams. Imagine a world where information could be extracted from you’re subconscious while you slept comfortably unaware of the theft, the idea of someone being able to access you’re deepest, darkest secrets is without a doubt both a fascinating and frightening thought I can promise you that. Firstly before I say any more there’s something that’s got to be known; over the years I’ve grown to greatly enjoy Nolan’s work as a filmmaker, it seems that with every passing film he seems to better his filmmaking technique and style. However, every artist reaches that halting point in their work where they’ve hit a wall in they’re potential, sort of speak. For filmmakers this is a very troubling thought because for many of them, once you’ve hit that stopping point it may take years and a slew of mediocre films placed unto their career’s before finally getting that groove back, but for some there’ll never be a way. I was more than convinced that Nolan hit that wall with THE DARK KIGHT, I was certain without a doubt TDK was Nolan’s Sistine Chapel and that nothing would ever amount to it’s greatness, and perhaps it was his breaking point as both a blessing and a curse. However that was until I saw INCEPTION, which not only proved me wrong, but stood as proof that no matter how great the achievement may be, there is always room for further improvement.

INCEPTION in my honest opinion, will stand the test of time as a remarkably fantastic film with gorgeous, yet intoxicating visuals that are beyond explanation by words to properly give it justification, the best way I could possibly put it into nearly comprehension of how great it was visually, would be compeering it to a dream coming to life right before your very eyes. And not since last year’s AVATAR have I been so engrossed into a film‘s special effects that I was left utterly speechless. But if the effects weren’t impressive enough, INCEPTION is further complemented with an incredibly stunning score done none other than by the likes of legendary master film composer Hans Zimmer, who’s score creates the perfect mood for the film’s tone, and complements each and every frame from start to finish. The plot is captivatingly alluring. The film starts off presenting a highly incoherent opening only to rain much more layers of complexity onto it’s viewers, weeding you (the viewer) into it’s complex world of wonders, with Nolan as the storyteller guiding us through this world of high-stakes corporate espionage, in which it take more than just wits to survive, but also a strong will to prevail. As the story goes on, the complexity of the plot begins to make sense as the mystery slowly unravels itself, only to be twisted and further perverted into more mystery and madness as the film’s plot takes new unexpected twists and turns which lead up to a shockingly explosive ending that will have moviegoers talking about long after the movie is over. INCEPTION is without a doubt a top contender for best of 2010! It is highly recommended.

As for the acting: like all of Christopher Nolan’s past films, the choice in actor’s and the quality in which their performance is handled plays a strong role in making the film all that more worth seeing, in fact one could argue that the performance’s in Nolan’s films plays out equally as good as the writing itself. Leonardo DiCaprio gives a chillingly delightful performance in the lead role of Cobb, a character who’s motives to get back to his children has no boundaries, the man will literally walk through limbo itself if it means a ticket back home to his children, but as the film goes on we learn some troublingly disturbing things about Cobb’s past that makes us question the sake of our own humanity. DiCaprio has certainly come a long way from being the boy we once remembered on a daytime TV sitcom. Joseph Gordon-Levitt has really come into his own over the years, once being known as the adorable child star actor in the early 90’s, Levitt has proved that over the years that he was more than just another child actor with every film he’s starred in over the years (with the exception of GI JOE) that his performance get’s better and better. Ellen Page is without a doubt one of Hollywood’s most adorable young actors, she can manage to pull off being both hotheaded and coolheaded with such ease and grace it’s no wonder so many moviegoers now days fall head over heels for her. With INCEPTION she pulls a stellar performance that showcases her maturity. Tom Hardy gave a fantastic performance , for anyone who has yet to see the 2008 British biopic BRONSON, Hardy’s ability to transform himself into the role he’s playing it quite magnanimous and deserves recognition. The first time I noticed Ken Watanabe as an actor was in the winter of 2003 during a special by invitation only midnight screening of THE LAST SAMURAI (2003). Needless to say, his performance made I and everyone in that room weep with such heart felt emotion, his performance three years later as General Kuribayashi in LETTER FROM IWO JIMA (2006) also struck a cord emotion by viewers. And the power behind his talent knows no boundaries as he gives a breathtaking performance that will have viewers griped to their seats once more.

Final Say: Inception was a breath taking adventure into the lustrous unknown and proved that expectations are meant to be exceeded no matter how high the standard. Inception was a wondrous film that will stick with you long after the film is over and It stands to reason that it is without a doubt going to stand the test of time as a true classic, and like all classics I believe it’ll stand out as the subject topic of teaching proper filmmaking in film schools some day. I highly recommend it!

Copyright 2010 TCWreviews.com
All Rights Reserved

Review: The Red Hours (2008) [Reviewed By Clifford Kiyabu]

Directed by: John Fallon
Written by: John Fallon (written by)
Genre: Short / Horror
MPAA: Not Rated
Released: 2008
Starring: Deke Richards, Heather Westwood, Amy Wickenheiser.

Plot: On one fateful night at a lowly dive bar, the tension between two lovers finally explodes resulting in a soirée of blood, chainsaw and bullets.

Review: 8/10

The Story is about: A quiet war is transpiring between lovers Marc (Deke Richards) and Natasha (Amy Wickenheiser). The more mature and old fashion Marc can't come to terms with his better half being bisexual hence he's constantly feeling hurt and resentful. On her end, Natasha feels criticized and un-accepted, consequently finding comfort in the arms of her lover Drew (Heather Westwood). The tension between them all reach a critical mass as the boiling point of their relationship results into chaos.

My Thoughts: As an online film critic, I enjoyed closely following the critiques of other fellow columnists and critics in my field, one that easily comes to mind is Actor/film critic John Fallon (AKA Arrow in The Head from Joblo.com.) a film critic who’s own 2 cents caught my attention early on when I was still a voiceless moviegoer in the overwhelming crowds. I often at times found myself concurring with his critiques 60 to 65% of the time (I’ve highly disagreed with him on a few films in the past, but luckily this should remain as proof of my unbiased nature on the matter). Since than I’ve had the opportunity of interviewing him personally which was both an honor and a pleasure. I’ve also had the chance to review a film in which he starred in (DEADEN (2006)) which aside from a few flaws I found quite enjoyable especially with how he handled himself as an actor in the film. so seeing that he’s taped into the field of critiquing, acting, and producing it was only a matter of time, in my opinion, before he’d have his hand at directing and writing, luckily for me, he’s done both in a little known sort film called THE RED HOURS (2008).

THE RED HOURS is a film which proved to be strangely alluring. The film’s tone is set from the start of the very first frame which gives it’s viewers an insight into shear madness. We are shown Mark, a man who‘s in the bathroom of a rave party looking into a mirror at himself, while at quick glance it seems he‘s just looking at himself, it becomes clear that Mark is doing much more, he is starring into his own soul which is obviously filled with rage and discontent regarding his relationship status with his girlfriend and is un-doubtable suspicions. From this moment on the line between reality and delusion begins to blur and we are taken to a chaotically horrific setting where Mark is awaken tide to a char while his girlfriend and another woman make out while holding a human heart (or at least that‘s what it looked like to me) from here the story takes a dramatically pulse pounding race for survival leaving the viewer on the edge of their seat wondering how will it all end. Some will argue that this film is an art house piece while others say it’s surrealist piece. I say it’s the type of short film that filmmaker’s Stanley Kubrick and Alfred Hitchcock would have cooked up had they ever worked together [Laughs]. But seriously, TRH is a marvelous surrealist piece that really digs deep into the human psyche and shows the war that we fight within ourselves and the meaningful concept of doomed relationships and how we’re all sort of on a one way rollercoaster ride down the rabbit hole of insanity and the best thing most can do is sit back and enjoy the ride. Fallon defiantly took point from the formulated ideas of some of the greats when making this and I respect him greatly for it. The film’s plot doesn’t try to makes sense of itself (so don‘t bother attempting to do so) but rather explains to you the moral of the story, not through dialog but through it’s individual impulsive actions which are mirrored though the emotions of the main character creating a horrific delusion full of pain, fear, misery and utter chaos that leads up to the ultimate punch line, a kiss of death. Some of what I’ve said may not make much sense to you but make no mistake about it that TRH is a remarkable piece of film art that speaks to a generation living a lost cause of failing relationships and trying to understand that which is meant to die.

As for the acting: well what can I say, the acting was for the most part professional but a bit of a mix bag, but despite having a run time of only 10 minutes in length the actors manage to create an atmospheric overtone that brought an alluring sense to these characters which proved to be both entertaining and fulfilling. Deke Richards who’s worked with John Fallon numerously in the past as co-stars on a number of previous projects, is now working together once more but this time as star and director. Richards pulls off a fine performance which was both edgy and thought provoking because most of the film’s foundation is built upon his physical reactions and impulses. I’m not very familiar with Heather Westwood or Amy Wickenheiser’s past works so there’s no chance at me giving a proper comparisons, but, their performance was passable to say the least in my opinion and help add some depth to the story working opposites of Richards.

Final Say: If a picture is worth a thousand words, then THE RED HOURS is worth that amount tenfold as it’s without a doubt clear that Fallon’s put a lot of effort and hard work into developing this sort into nothing sort of creative art at it‘s best. Though it may not be for everyone it‘s highly recommended taking a look at. I highly recommend it!

Copyright 2010 TCWreviews.com
All Rights Reserved

Critic Vs. Critic: A Nightmare on Elm Street (2010) [2/2]

Since the start of TCWreviews.com. We’ve pride ourselves with the notion that we present to our readers with critiques built on high standards and quality writing, presenting only honesty and an unbiased moral high ground, though because we allow vast freedom of speech among our writers there’s always going to be a spin zone due to difference of opinions, and from time to time one or more critics here will voice their opinion in a completely different direction of the others. So in the sprite of outspoken voices we at TCWreviews would like to present what we hope will be the first of many editions of Citric Vs. Critic!

Tonight, TCWreviews’ Editor in Chief and Chief film critic Clifford Kiyabu will talk it out with fellow Critic, columnist and colleague Kelsey Zukowski. In this edition of Critic Vs. Critic we talk about Platinum Dunes remake A Nightmare on Elm Street (2010) directed by Samuel Bayer.



Clifford: Well I guess we’re on the same page here as far as the look goes, we can mutually agree that they could have done a much much better job on his appearance. I understand that they wanted to go with a more realist take to the character’s appearance but by doing so they failed to see the true nature of Freddy, that there was more to his look then meets the eye, Freddy wasn’t just another burn victim and his appearance certainly wasn’t based on the fact that he died a horrific death such as burning. Though he did suffer a fiery death by the hands of the vengeance seeking parents whom wanted justice for the sickly demented things he had done to their children. A major part of his complexion in the dream world was based upon the evil that lurked within him, he could have easily morphed into a version of himself that resembled his pre-dream demon self but chose to remain the hellish version we all know and love because it resembled who he was deep down inside. I believe Showtime’s Dexter put it quite simpler, it was his own personal “Dark Passenger“. Freddy did the things he did because he was acting on the urges presented to him by his dark needs, and when he finally met his end in our realm he was reborn in the darkness that soon became his dominion

So yes I agree they botched Freddy’s look quite badly. however in spite of how bad his appearance turned out or how badly the film may have been, I seriously don‘t think it was in any way worst then Freddy's Dead: The Final Nightmare. I don‘t care if Englund was in it, that movie was so dreadful I cannot for the life of me watch it without having the overwhelming feeling of wanting to hang myself with some dental floss! [Laughs]

And for a time being it was considered the final nail in the coffin for the franchise (Thank god for Wes Craven‘s New Nightmare!) so with that being said I know I’ll probably get a lot of negative feedback for saying this; but I firmly stand by my rating (7/10) because this new Elm street was a break from the traditional Freddy in terms of character in general which I believe will make them stand more apart from each other as time goes. The positive to look forward to out of all of this is that when a sequel is made, and I’m more then certain it will be made seeing that both Jackie Earle Haley and Rooney Mara have signed a three picture deal with Platinum Dunes to reprise their roles as Freddy and Nancy. Is that they’ll make up for their mistakes with this film in the next, and hopefully the sequel will be much better received by fans and critics alike for it, but as they say only time will tell. What say you Kel?



Kelsey: Beautifully put Clifford, you’re completely right. Freddy is far more than a burn victim. I think we all know that Freddy could never even really be a victim. He’s a dream master; eternally a villain, never a victim. There is no point in trying to make him look like a man when he is all monster. Any part of a man that once lay inside of him died when he was burned alive that night. He was evil before, but once he reached his death is when he truly embraced the darkness and let it devour his soul, making him an immortal being who feed off the fear of the children of Elm Street.

I actually have to disagree with you on Freddy’s Dead. I do think it’s the worst Freddy sequel, but it’s just so ridiculous and cheesy that you can still have a good time with it, even if you are laughing at it more than you are laughing with it. It’s all in good fun. The difference is the Nightmare remake took a serious tone and where comedy was attempted it failed miserably. It really seemed like they barely tried. Wes Craven’s New Nightmare was a much more fitting ending and even Freddy vs. Jason was a better film.

The only things I can at all appreciate about this movie are the performances by Kyle Gallner and Rooney Mara. I’ve been a fan of Gallner since his work on Veronica Mars. Even movies that aren’t the greatest (A Haunting in Connecticut), he still seems to bring a certain likeability out through his characters. He has great screen presence and it is easy to connect with his character here. He is really the only reason I could care about anything that was going on in the film. Personally, I love Heather Langenkamp in the original Nightmare on Elm Street, but I know there are plenty of people who think her performance was overacted. With Rooney Mara we get a more subtler approach, which might make Nancy and what she’s going through more believable. She is less direct and active than Heather’s Nancy, but along with Quentin is one of the only characters I cared about.

The Nightmare on Elm Street remake, might be different from the other Freddy films, but that doesn’t make it good. It took the original material of a darkly infused slasher classic and dumbed it down so much that nothing good was left. Most of the original material was took and thrown in to this film with making it look much worse when the potential was there to explore these intriguing themes and terrifying persona that is Freddy Kruger. Where it did branch out it felt very artificial and forced and wasn’t bold enough to really going in to the mindset of the maniacal Freddy Kruger. I highly doubt a sequel would show an improvement when there is nothing in the first as far as the material goes that is at all compelling, smart, or frightening. Obviously, what we got here is what we are stuck with and I cringe at the thought that the series will probably only go downhill from here (which is probably the only scary thing about this version of Freddy). Damn you ,Platinum Dunes, you have gone too far now.



Clifford: I’m a little shocked that you haven’t mentioned A Nightmare on Elm Street Part 2: Freddy's Revenge in terms of worst in the franchise as it is widely known by fans as one of the most unsavory sequels in the series due to Freddy’s absence throughout most of the film (except for it’s ending) and for it‘s high overtones of homosexuality.

I however on the other hand actually liked it due to it’s standing out from the bunch and taking a very difference route from the other films and while some people didn‘t notice it, it‘s plot line actually set the stage for the future films (not to mention it‘s the only one in the bunch that Freddy shows his more serious side as well as letting you know he’s pissed off). The reason I cannot enjoy one bit of Freddy’s Dead is because there wasn’t anymore horror in the franchise at this point, it was just 90 plus minutes of Freddy throwing one liners around while killing a sad group of kids no one would give two S###’s about, simply put, the magic that made Freddy the iconic slasher we loved was gone, his essence was replaced with a carbine copy molded by the studio execs, heck even Englund knew it as he phoned in the performance, if it wasn‘t for New Nightmare to save the day I would have lost all faith in the franchise because New Nightmare returned Kruger back to his former glory as the notoriously devious boogieman that kept us laying awake at night, But here I go again going off topic.

The acting I thought was pretty decent compared to other horror remakes to come out recently, I mean let’s face it, My Bloody Valentine and Prom Night were just horrible, and I really like Jaime King and Brittany Snow, but their performance was just, terrible… so, so terrible. So when comparing it to films like that I have to say the cast of the Elm street remake did a pretty decant job. I thought Jackie Earle Haley did a fairly good job on his first attempt as Freddy, though I agree with you that there was so much potential that laid wasted here, but I don’t blame him for this, I blame the filmmakers. As for Katie Cassidy, I liked her performance a lot but once again it lacked in certain areas and I thought the amount of screen time given to her did more harm then good as it distracted viewers away from the true lead which was always Rooney Mara’s character Nancy, and while Rooney Mara was okay as Nancy I have to say I could not get into liking the character all that much, because I did not like the re-characterization of Nancy Thompson into Nancy Holbrook, the fact they turned her from being the bad ass heroin we all remembered loving into a depressed artsy EMO was very disappointing. For me Nancy is and always will be Heather Langenkamp. However, I am willing to give this new Nancy a chance if the character is given more depth in the sequel.



Kelsey: I actually don’t have the problems with Freddy’s Revenge that many fans of the series do. The homosexual overtones are definitely there and there are moments where it has a campy feel, but they are enjoyable all the same. I think the story works and it’s a way for the Nightmare to continue. I agree, that is helped turn the Elm Street movies in another direction.

The original is the best and is the perfect balance of sadistic comedy and chilling fear. Still, I love nearly every movie in the series for what it is. I wouldn’t go that far with Freddy’s Dead. It’s obviously of much lesser quality than any of the other films in the series and I recognize it as the worst film in the original franchise. The horror is overshadowed by the cheesy one liners. I like the films that take Freddy a little more seriously as a villain. However, one of the reasons why I always preferred him to Jason and Michael was his demented sense of humor and that he was just so in your face; it made him seem even more crazy. You really never know what he will do, but have no choice but to face whatever his psychotic mind thinks up. I love Freddy’s one liners even though I prefer them to be sprinkled in with escalating terror and mental mayhem. That’s not really the case with Freddy’s Dead, but I can still enjoy it as a cheesy Freddy film.

Hold on a second though, My Bloody Valentine is far better than this remake in nearly every way. I actually wasn’t the hugest fan of the original. Cool premise, but I just couldn’t care or take anything in it seriously. The obsession with the evils of dancing and Valentine’s Day celebrating was a little too much. What are we in, Footloose town? So when the remake came out in 3d no less I wasn’t all that interested. I was very pleasantly surprised. It is one of the few horror remakes I think is better than the original. I could easily care about all the characters and I thought all of the actors brought them out well. They actually depicted what was uprising in the town as something suspenseful and chilling.

Back in relation to the Nightmare remake, the acting was one of the only elements that I can say anything positive about at all. I already described the two performances I enjoyed. Katie Cassidy was just alright to me. She did what the role required, but nothing more. Kellan Lutz was at about the same quality. He showed fear and created a bit of an eerie aura around his character, still nothing particularly notable.

Aside from the atrocious writing, Jackie Earl Haley was probably the biggest disappointment of the film to me. I had really invested a lot of hope in him and I have seen him tackle a dark, demented character with such grace. He just didn’t bring that to the table here. I can deal with a new version of Freddy. I fully embrace Rob Zombie’s version of Michael Myers even though it is completely different from the mysterious masked man John Carpenter gave birth to. This Freddy Krueger is neither funny or scary, neither quick or suspenseful. Haley’s performance actually makes him seem slow and like he doesn’t have a quick witted cell in his body. Not to mention half of what he says doesn’t even make sense. This Freddy isn’t menacing or scary at all and it seems like most teenagers wouldn’t have a problem escaping from him without so much as breaking a sweat. Haley and Platinum Dunes collectively took what Freddy was and obliterated him. Haley will never be Freddy and this will never be a part of the true Elm Street series.

And that conclude the Co-review of Platinum Dunes re-imagining of A Nightmare on Elm Street Directed by Samuel Bayer. While I thought the film had it’s good points as well bad, my colleague did not care for it very much. However despite what you’ve read here between us it’s still up to you, the reader, to decide if you agree or disagree with any of the opinions laid out here, and if you’re still not sure then by all means take the leap of faith and find out for yourself. I want to thanks Kelsey Zukowski for taking the time to sit down and have this little chit-chat about one of the most talked about horror icons in cinema. We invite you to join Kelsey and I again as we debate it out like maniacs in the next edition of CRITIC VS. CRITIC! Coming Soon.

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