Monday, October 25, 2010

THE BOONDOCK SAINTS ARE BACK!! COMING TO AN APPLE MOBILE DEVICE NEAR YOU OCT. 28th!

Director Troy Duffy has built a rather massive worldwide fan-base around the cult classic, The Boondock Saints (1999), and fans eagerly anticipated it’s long awaited sequel, The Boondock Saints II: All Saints Day (2009).

Without giving fans a chance to catch their breath from the release of the long awaited sequel, a two-issue comic book series was then released as a companion to the movie with an extended graphic novel is now on it’s way with extra content not currently available offline. Before reading on, it is highly recommended that all fans and Boondock Betties say “In nomine Patris, et Filii, et Spiritus Sancti” for the news in which they are about to receive.

As earlier reports circulating the web about a possible Boondock Saints game on it’s way were just brushed off as rumor, it is now official; A Boondock Saints Mobile Game will be blasting it’s way onto the Apple App Store for the iPhone, iPod Touch and iPad later this month [Oct. 28th].

Bringing the same explosive action and attitude that fueled the iconic, cult-classic movie, players will unleash the deadly skills of the brothers MacManus in this unique top-down shooter game, experiencing an exclusive Boondock Saints story created just for this game. Play as Connor or Murphy with special appearances from familiar faces from the movies while on a righteous mission of revenge. A wide range of weapons are at your disposal, including Molotov cocktails and stun grenades to take out determined foes. As you progress through the game, tattoos are placed on the brothers to mark completed missions. On the walls of the tattoo parlor are links to Facebook, Twitter and Open Feint where players can track achievements and communicate with friends. In addition, scenes from the films will be available on the iPad.
The Boondock Saints Mobile Game will be available in the Apple App Store on Oct. 28th for a limited time launch price of $1.99 (through Nov. 1st in celebration of All Saints Day. Thereafter, price will be $2.99.)
The game App complements the newly released Boondock Saints Official Soundboard featuring the greatest one-liners from the films.


With the holiday season just around the corner, the game would make the perfect little gift or treat to any Boondock saints fan or Boondock Betty out there and with the low set price of a few bucks, who could go wrong, right?

Tuesday, October 12, 2010

Bread for Dough for New Web Series "Live Or Die"

We at TCWreviews has always pride ourselves for supporting the independent arts, especially when the those involved are truly passionate about their work. So when we got wind of filmmaker Phil Calderone’s ‘Live or Die’ project which consists of mutable shorts in which you, the viewer, will get to decide weather who lives and who dies in each episode in an online vote, we immediately jumped on board to spread the word for this ingenious idea that allows each and every viewer the chance to get involved in the content they are viewing. And if that’s not enough to put a smile on any horror fan’s face, Calderone is also a baker and as part of his campaign to raise money for the web series which he proclaims is a splice between "Blind Date" meets "Final Destination." He has created multiple ways to show his appreciation for each and every donation, ranging from a copy of the Manhater DVD, a Live or Die T-shirt, a producer’s credit, or a loaf of his famous unique home-made bread which is a part of his Bread for Dough campaign for those who donate a certain amount.



The Manhater movie is done and now it's time to let people know about it in a big way, beyond cast/crew/friends and even Facebook. The core idea is to expose audience to the Manhater web site via a series of comedy/horror shorts based on the Manhater theme. I'm talking shorts that are funny enough for people to spread around of their own accord, while inducing audience participation and building up our following.

The web series, six episodes, is entitled "Manhater Movie's Live or Die." Think "Blind Date" meets "Final Destination."

Each episode will be a self-standing sketch, an interaction between a man and woman, climaxing with the man doing something worthy of his demise. These will be distributed all across the internet (including sites such as Funny or Die) with the audience voting on the ending--thumbs up or down on the outcome.

Of course every episode will come with links to the Manhater movie site and store, already up and running:
http://www.manhatermovie.com/
http://www.manhatermarket.com/

The Kickstarter funds will be used in two ways:
1) purchase of a Canon T2i camera kit
2) production of six Live or Die web series episodes
Kickstarter Campaign Fun:
-Video Updates: Sunday PM, Monday, Wednesday, & Friday
-Coffee with Phil
-Bread for Dough (Friday)
-Decide Practice -- there will be voting!
and more to come.



whether you like the shorts they’ve already produced or not, one cannot deny that their Bread for Dough offer is a great idea and a unique incentive to get finical backing to further support a project, and their Live or Die campaign is not a bad idea either which allows you, the viewer, to get more involved in the process of movie making as well as letting you decide how you want the story unfold. If you’re interested in showing your support then you can do so by checking out the filmmaker’s Kickstart page and donate whatever you can.

And while you’re at it, you can visit the offical website or follow him on Twitter or befriend him on Facebook

Wednesday, October 6, 2010

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.


READ THE FIRST HALF: HERE

Critic Vs. Critic: A Nightmare on Elm Street (2010) [1/2]

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 Critic Vs. Critic!

Tonight TCWreviews’ Editor in Chief and Chief film critic Clifford Kiyabu sits down with fellow film 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: Much like most people who grew up watching horror films as a child I was a mega fan of the Elm Street franchise, while most kids were too afraid to watch then alone talk about these films. I was staying up late into the early morning hour watching horror icons like Freddy Krueger, Jason Voorhees, and Pinhead. So when Platinum Dunes started remaking everything I grew up with I felt like my childhood memories were being devoured right before my very eyes (with the exception of The Texas Chainsaw Massacre (2003)) and it certainly didn’t make things any better once the announced plans for an Elm Street remake was in the works. I immediately went on the fence about it because when push comes to shove you‘re only going to take so much before you start pushing back. However, shockingly enough it didn’t turn out as bad as I’d originally thought it would, because it, in my opinion, brought to the table what the filmmakers had promised, a completely new and fresh take on a franchise which kept to the same predictable themes for more then 25 years with little new marital to work with. So as much as it pains me to say it, a reboot was in it’s own right warranted and weather you liked it or not it’s here and to stay. So what do you think Kelsey?




Kelsey: The one thing I can agree with is that The Texas Chainsaw Massacre wasn’t bad for a remake. It’s actually one of the better ones we have gotten. It held on to that gritty, intense feeling of the first. Platinum Dunes horror remakes only went downhill from there though. It seems like they have progressively gotten worse with each film. The Hitcher was watchable, but only because it was so cheesy and over the top with scenes like somehow Sophia Bush’s character kicking and jumping through the air of a bolted up police van with a mini skirt and shot gun in hand. The cheese factor wasn’t just simply the ridiculousness of this, but how much things had changed from the simplicity of the original, largely underrated film. The Friday the 13th remake would have been an okay film if it wasn’t a Friday the 13th film, because in reality it wasn’t. There was nothing that defined it as such. It could have been any other killer and could have been any other film. It was simply a forced, confused rehashing and it felt like that.

Platinum Dunes reached an entirely different level of disgrace and shameless exploiting when it came to the Nightmare on Elm Street remake. When I first heard about it, of course I was skeptical; remakes alone will give me that reaction let alone one of my all time favorite film by my favorite director and a career defining performance by Robert Englund that gave birth to my favorite villain. I try to have an open mind though and I did with this remake. As it went along my confidence was dropping until it was announced that Jackie Earle Haley would be playing Freddy. Of course I was disappointed that Englund wouldn’t be reprising the role, but I had faith in Haley. He gave a tragic and dark portrayal of a child molester in Little Children, it seemed like he could bring out the twisted shades of a child murderer just as well even if it was a different version of Freddy. Unfortunately, his talents weren’t taken advantage of the version of Freddy we were left with was downright insulting.



Clifford: I couldn’t agree with you more with how Platinum Dunes have been on a one way trip downhill with the quality of their remakes, especially with The Hitcher which I thought was mildly okay seeing that they took a simple good old fashion Thriller and tried to blow it up in proportion which was highly unnecessary and unwarranted. Simple put, there was just way too much cheese being flung around for someone to enjoy it properly (which isn‘t to say I didn‘t enjoy some part of it though) and in my opinion it felt too much like 2001’s Joy Ride then anything else, but I will give it points for Sean Bean who I thought did a great job with his performance. As far as things went with the Friday The 13th remake. I disliked it a lot, much in agreement with you on this subject, I thought everything that was presented was quite enjoyable to some extent, except for the fact that Jason Voorhees was in it. I’m a huge fan of the Friday The 13th franchise, but what made the films so magical was the darkness that surrounded his origins, it was so alluring because it never started with him, though he sure did finish it. Witnessing his own mother’s brutal demise was what made him the killer we all know and love and watching this develop so carefully on the big screen was what made the original Friday so fantastic, I feel director Marcus Nispel failed the fans as well as the character when he decided to rush the entire origins of Jason in a 2 minute credit opening which is disappointing seeing that he directed The Texas Chainsaw Massacre remake. Now let’s get back on point before we end up dissecting Platinum Dunes in general. [Laughs]

Anyway I guess my point I’m getting at here is that I couldn’t agree with you more on the notion that Robert Englund is Freddy Krueger, and Wes Craven will always be it’s creator. But, and this is a big but, we have to face the ultimate facts here, Englund is our Freddy Krueger, he’s our generation’s Freddy just like Christopher Lee is the previous generation’s Count Dracula. We’ll always respect him for playing the original Count just as much we’ll always respect Englund as Krueger. But these are new waters we’re treading in, I mean gosh we’re at a point and time in history where something like Jersey Shore is considered Primetime Entertainment! So if something as WTF like that is passable in today’s day and age I firmly believe that Jackie Earle Haley has the chance at becoming the next generation’s Freddy, and keep in mind that while you’ll probably disagree with me here, it’s not us who’ll be the judge of this but the fans in time, remember when the original was first released in 1984, critics bashed the film, I even remember reading once that a columnist even criticized that it would be forgotten in time and yet the fans like you and me proved them wrong. So keeping that in mind I have to say what I like most about this re-imagining is that it went deeper into who Freddy was before he became the dream demon, and for once we finally get s straight forward answer on weather or not he was a child molester, I perfectly understood that is was always highly suggested in the original films, but there’s a vast difference between suggestion and straight forward acknowledgement, though I highly agree that the dialog was incredibly weak and the one-liners needed more work and the pasting got a little slow at times. So kel what are your thoughts on the re-design of Krueger’s appearance and his new glove?



Kelsey: You make a good point about the Friday remake, they really didn’t show Jason at all as the killer he was. He was a killer, that’s it. There was no real reflection on his motives or who he was and the lack of concentration on his mother took a great deal away. Jason stalks and kills teens for a certain sense of personal revenge for his death, but he has always been fueled by his mother; her actions and the mental and emotional power that she alone seemed to have over him. That being said you’re right, this is a discussion on the Nightmare on Elm Street remake, not Platinum Dunes descent in to ruining classic horror films.

As far as Freddy Krueger goes, it wasn’t just the fact that someone else was going to play Freddy. Of course it posed the question of whether anyone could possibly measure up to the staples that Englund had created. I honestly couldn’t think of one actor that would be an ideal choice, let alone someone that Platinum Dunes would actually go with. Like I said, I was pleasantly surprised when Haley was the choice. Haley was not and never will be Freddy Krueger. Robert Englund would have been a part of this, but I can even understand them wanting to go in a different direction, a younger Freddy. The writing was not there, so any actor wouldn’t have been able to bring life to this psychological gripping monster out of nothing. My point about Englund was just that he created Freddy Krueger nearly as much as Wes Craven did. I am all for a new Freddy, but I refuse to believe that this version of him has any shred of Freddy Krueger in him.

As far as the look goes, I thought it was an atrocious change. He doesn’t look menacing at all. Even the basic shape of it seems so much a much lesser version without the intensity of the red burns that had become a part of Freddy’s face. I also really didn’t like how throughout most of it they almost tried to make Freddy a victim. Even in life Freddy Krueger has always been a villain; never a victim. Was there a downward spiral towards becoming the immortal monster that we know him as? Of course, but that really wasn’t what was depicted here as it should have been if they were going to go at all in to the past. The problem was this wasn’t a re-imagining. Rob Zombie’s Halloween movies are a re-imagining. He has created an entirely new Michael Myers and I embrace that new character and respect the hell out of Zombie to be so bold to go there and bring something new to the table. It’s not an issue of not being able to let go of the original character, I can easily do that, just not when it’s so watered down and stripped of its essence that it just becomes insulting.


READ THE SECOND HALF: HERE

Tuesday, September 7, 2010

Review: A Prophet (2009) [Reviewed By David Deminic Dimichele]

Directed by Jacques Audiard
For want of sufficient nourishment no need to go further than director Jacques Audiard’s “A Prophet.” It is profoundly full with top notch performances, knockout direction and a musical score meant to produce the most feeling. But what becomes more of all of this is that it is a psychological film just as much as it is a crime film, whose focus is just as reliant on social and environmental issues as it is on criminal issues. There is a current raging with more and more intensity as the film goes on and Audiard sets it loose as he sheds light on the illiteracy problem occurring in France. This subtext may seem out of place in the new crime classic but it is anything but that. It takes up residence in the film and we see the whole fruition of it when we see nineteen-year-old Malik, the illiterate prisoner, more easily able to adapt to a criminal lifestyle than it is to read a children’s book in a competent and coherent manner.

“A Prophet” aggressively traverses the toughest terrains of life inside a French prison. We take this journey with Malik (Tahar Rahim), an Arab who is now old enough to find his cell time with the big guys. Serving six years for assaulting a police officer, Malik is in over his head. He has no family, no friends and no enemies. He will make them all in prison. Within the first scene we see the disparity that is overtaking his eyes as he is stripped searched, eyed by the many savages behind bars and eventually led to his confined cell. At this moment he is at a point of no return; either be an animal or be eaten by animals.

This journey we take with him is of paramount importance. It offers us a glimpse and allows us to discern the true qualities that men possess: Will Malik conform to his harsh surroundings or will he put up an effort to remain unscathed by the violent surroundings? When Malik makes acquaintances with fellow prisoner Cesar (Niels Arestrup) and his many followers Malik finds it a necessity to abide by anything Cesar says. Cesar is evil. He demands power and people are afraid of him. When he serves Malik an offer that he cannot refuse (which would offer him protection coming from Cesar) Malik is faced with a decision that will forever alter his entire life. This is Malik’s welcoming into a Hell on earth. And what is caught on camera is downright horrific, amplifying with a consummate behavior all things that are horrid, dilapidated and worthless.

The way in which Audiard expresses the notions of depravity is unglorified in every sense of the word. The elimination of such romantic qualities allows him a clear pathway to chart an unexplainable evil that all mankind innately inhabits. With vivid precision, he is directing us to see the obscenity of not only prison life but the obscenity that is boiling beneath the surface of every man. This obscenity is waiting to be summoned so it can perpetually encompass man’s demeanor. One scene in particular verifies this as Malik shows horrific behavior, firing bullet after bullet, while wearing a sinister smirk, enjoying his immersion in violence.

There is an innate violence waiting to be set free in everyone. Literature even made this an apparent fact (Heart of Darkness); In “A Prophet” Audiard makes this most clear. This is his building block. The escalation of Malik’s violence and deceitfulness only enhances Machiavelli’s discourse on power which states that man is obligated to maintain power and if he does not he will be done away with. Watching Malik’s ascension to mafia lord in a brutally honest manner is unquestionably modern cinematic realism at its zenith.

This transformation can be seen as resembling the one Michael Corleone underwent in the initial “Godfather” film. Both Michael and Malik are hesitant to embrace a life of crime; a life that will have them in its grasps their entire existence, never being able to shake it off. Once this lifestyle is attained it is near impossible to go back. Malik is a creation that grows and grows in stature, finally breaking the binds that try and contain him. And Rahim plays this man to perfection. From weakness to powerful, Rahim portrays a man who gets just one taste of some blood and finds himself lured in by the wealth and power that comes along with it. His scenes with Arestrup as Cesar are pure magic; charting an old gangster’s passing days that give rise to a fresher face.

High-Definition Picture: “A Prophet” is easily in the running for best high-definition transfer of the year. It seems to have an innate perception for things that are ghastly and things that are beautiful. This differential of imagery is the key to the transfer’s success. The wet and deteriorating prison cells are meticulously captured, engulfing the viewers into this atmosphere and leaving them there to fend for themselves. Contrasting with this imager is a following scene that finds beauty and sincerity in the works of Mother Nature. As the snow falls on the grounds of the prison recreational area there is a sense of comfort and equanimity. The transfer makes this scene resonate even more with the clarity and purity of which it is captured with. This is a Blu-Ray transfer that treats with equal care both the beauty and brutality, making each in its own distinguished way impossible to not look at.
Special Features: Commentary with director Jacques Audiard, actor Tahar Rahim and co-writer Thomas Bidegan
Deleted Scenes: SD (11mins) - Four in total that aren’t a necessity to the film’s overall narrative.
Rehearsal Footage: SD (9mins) – Three scenes of the actors doing separate shots.
Screen Tests: SD (5mins) – Tahar Rahim doing tests for five different scenes.
Trailers: HD - A stunning trailer of “A Prophet” is displayed (as well as other Sony Picture Classics films).

MOVIE: **** out of ****
PICTURE: **** out of ****
Special Features: ** out of ****
Verdict: MUST OWN