While Paul Thomas Anderson's debt to Robert Altman - who he later worked with extensively before his death - had been on display in Hard Eight and (particularly) Boogie Nights, it was 1999's Magnolia where Altman's influence really came to the forefront. Telling a sprawling tale of the interweaving connections between a dozen or so characters over a 24 hour period, the film explores themes of chance, fate, love, death, and forgiveness among people of wildly disparate backgrounds. Featuring one of the most impressive ensemble casts in recent memory - including Jason Robards in his emotional final performance - the film occasionally threatens to collapse under its emotional weight ( particularly during two memorably surreal sequences) but Anderson deftly keeps the ship upright over the lengthy three hour running time. It's uneven, and occasionally frustrating, but it's a massive accomplishment, and one with near limitless pleasures to unlock. Movie Feast
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Cast & creW Director-Arup Dutta Writer-Aroti Bhattacharya Stars-Akash, Shilpa Anand, Karan Mehra Release Date -February 2013 (India) Filming Locations -Bangkok, Thailand Country -India Language -Hindi See more
Storyline, Natasha is the Hotel Heiress of Eagle Group of Hotels, brash, defiant and a Man-eater. While traveling to a party, she meets with an accident which is life-threatening, had it not been for the presence of Nirvaan Shroff. Nirvaan saves Natasha from the accident but his attitude and the rough around the edges persona attracts her to him, but Nirvaan is not the one to be taken in easily. A wager from her friend starts the game of seduction between Natasha and Nirvaan. But what unfolds is something that even Natasha had not thought of. She actually falls for him, not knowing the fact that Nirvaan is married to Radhika who is staying in Pattaya. What happens next and what Nirvaan does is what forms the finale of Bloody Isshq.
Like Psycho, a film that might possibly never have existed if it wasn't for Les diaboliques, time and imitation have dulled the edge of Henri-Georges Clouzot's masterpiece of suspense. However, even with an ending that most audiences will see coming at the half-way mark, the film has enough slow building suspense and fascinating psychology to thrill and entertain in equal measure. Wife and mistress working together to plan the perfect murder sounds like something out of Hitchcock's playbook, but the French surroundings and cast - who are pitch perfect - serve a much darker tale than Hitchcock would have attempted. The imagery is unforgettable, and the climactic sequence - with the ill Christina chasing her supposedly dead husband through the hallways of the boarding school - is still absolutely chilling. Re-made in English several times; most notably a poor big-budget Hollywood remake (known as Diabolique) starring Sharon Stone and Isabelle Adjani. Movie Feast
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Release Date: 1 March 2013 (USA)
Director: Andrew Weiner
Writers: Vlady Pildysh, Andrew Weiner, 1 more credit
Stars: Kris Lemche, Joe Egender, Timothy V. Murphy
Genres: Horror
Country: USA
Language: English
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Watch Full The Frankenstein Theory Online, The Frankenstein Theory full movie trailer,From the makers of The Last Exorcism comes a boldly original vision of horror. What if the most chilling novel of all time was actually based on a true account of a horrific experiment gone awry? When he is suspended from his university job for his outlandish ideas, Professor John Venkenheim leads a documentary film crew to the rim of the Arctic Circle in a desperate effort to vindicate his academic reputation. His theory: Mary Shelley's ghastly story, "Frankenstein," is, in fact, a work of non-fiction disguised as fantasy. In the vast, frozen wilderness, Venkenheim and his team search for the legendary monster, a creature mired in mystery and drenched in blood. What they find is an unspeakable truth more terrifying than any fiction...a nightmare from which there is no waking.Watch Full The Frankenstein Theory Online.
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Director:Bill Muir Writers:Bill Muir, Bill Muir (story) Stars:Billy Unger, John Marengo, Sammi Hanratty. Also Known As:El Medallón Perdido Release Date:2013 (USA) Country:USA Language:English
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Archaeologist Dr. Michael Stone looked for the lost medallion his entire life, and now his son Billy has taken up the search. Amazingly, the medallion ends up in Billy's hands and a spontaneous wish in a precarious situation takes Billy and his best friend Allie, back 200 years to what they realize is a very different Aumakua Island. When Billy and his friends are not jumping off waterfalls, avoiding animal traps, crossing the ocean, sneaking through caves or escaping a prison they're facing their nemesis Cobra, who wants nothing more than for them all to disappear. With no other way to get home, and the wellbeing of the entire island resting on his shoulders, Billy must discover the key to reclaiming the medallion and its tremendous power. One way or another, this adventure will change Billy, and life on the island, forever.
All About Eve has such wonderful dialogue and performances that it's easy to forget just how bitter and cynical it is. A slick commentary on our culture's obsession with youth, particularly in the entertainment industry, it features a tour-de-force performance by Bette Davis as the aging actress Margo Channing. Davis is in full-on queen bitch mode, while somehow still remaining the heart and soul of the piece, spitting out the exquisitely crafted Joseph L. Mankiewicz dialogue with equal parts enthusiasm and vitriol. But it's not just David in fine form, as the supporting performances are universally excellent - with the ensemble receiving five acting Oscar nominations alone, and the production as a whole getting an (at the time) record 14 noms. The plot; about an obsessed young fan surreptitiously infiltrating - and imitating - the life of a famous theatrical star, remains ferociously entertaining until the end. A true Hollywood triumph. Movie Feast
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Cast & Crew Director:Ben Affleck Stars:Ben Affleck, Bryan Cranston, John Goodman. Genres Drama | History | Thriller Release Date:12 October 2012 (USA) Country:USA Language:English & Persian Official Sites:-Official site Runtime:120 min Aspect Ratio:2.35 : 1
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In 1979, the American embassy in Iran was invaded by Iranian revolutionaries and several Americans were taken hostage. However, six managed to escape to the official residence of the Canadian Ambassador and the CIA was eventually ordered to get them out of the country. With few options, exfiltration expert Tony Mendez devised a daring plan: to create a phony Canadian film project looking to shoot in Iran and smuggle the Americans out as its production crew. With the help of some trusted Hollywood contacts, Mendez created the ruse and proceed to Iran as its associate producer. However, time was running out with the Iranian security forces closing in on the truth while both his charges and the White House had grave doubts about the operation themselves.
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Directors: Jon Lucas, Scott Moore Writers: Jon Lucas (screenplay), Scott Moore (screenplay) Stars: Miles Teller, Justin Chon, Jonathan Keltz
Release Date: 1 March 2013 (USA)
Country: USA Language: English
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One of the most interesting arguments about movies, at least to me, is the one that compares movie viewing to addiction. Most addiction theories talk about how an addict buys in to a high, but it's a high that decreases over time. The theory says that the high is greatest at first, but later in the addict's life the tolerance builds up and they can never reach that same feeling again. The theory makes sense there, and, unfortunately, occasionally makes sense with movies too.
If you're a horror fan like me, then consider that time when you were a kid and were first really scared by a movie. You probably thought it could happen to you and came up with safe guards to prevent yourself from the movie and all kinds of silly kid things. Some people don't, but I know I did. Heck, I thought there might be something under the bed till I was 18. Did I get picked on and bullied in school? Sure I did. But it was a for a good cause.
Time, however, reveals all things. The more horror we watch, the more we become accustomed to the tricks, the more we start to recognize the twists, and the more we become cynical toward what we see. That first time you saw someone jump out from behind someone in a horror movie sure made you scream, but now think of the 437th time you saw it happen. Did you laugh? I probably laughed. Doesn't mean I didn't enjoy it, but it does mean that I didn't feel the same shock.
Which brings me to Dark Skies, a new horror movie full of old horror movie tricks. It follows in the footsteps of successful films from the same producers - as noted by the poster it's clearly riding the coattails of Paranormal Activity and Insidious, not to mention last year's creeper Sinister - which means it uses a lot of the same moves that we've already seen. The lighting, the music, and even the settings are entirely familiar to anyone who has seen those films. And it's not like those flicks were the first to use bump-in-the-night tactics to get audiences' attentions, which makes the film even more familiar to horror addicts. It's hard to really be shocked by anything contained in this film, whose biggest flaw is existing in the wake of literally thousands of films that have the same style.
Now that I've gotten my old man horror rant out of the way (And, good lord, it took me long enough!), here's the kicker - Dark Skies is a pretty competent little horror film. The plot follows the same arc that we've seen in the previously mentioned films, with the major tweak being that demons or ghosts have been replaced by aliens. This is sure to draw skepticism from plenty of viewers, and some of the reveals are a little silly. Yet the film never fully goes off the cliff of realism and manages to keep its feet as it moves through this battle with an increasingly problematic adversary.
The film gets most of its strength from the two actors in the lead. Keri Russell and Josh Hamilton are the married couple who, along with their two children, are terrorized by visitors and both give grounded and interesting performances. Russell is the bigger name and the one who is given the most screen time to uncover oddities and react with unease, but the character written for Hamilton is a truly interesting twist on the usual. Films of this sort often miss with the male character (i.e. - Mee-kah in Paranormal Activity), but Hamilton's character is never completely skeptical or distant from the proceedings. It's a fantastic addition to the film when we see this man go through a human range of emotions without being one note, and it cements that Dark Skies isn't just a cash in on a formula.
Of course, the fact that Dark Skies follows a formula I've seen a plethora of times doesn't discount the film for those who don't know the formula. As I watched the film tonight, a family of four with two pre-teen daughters sat across the aisle. Did one of the daughters scream loudly about 20 times during the movie? Yes, yes she did. Did I smile every time? Yes, yes I did. It was those moments, in which a young horror viewer reacted to the same kind of things I used to react to, that made me appreciate everything Dark Skies has to offer, both on its own and as a member of the horror family. The film works on the simplest level of horror, which should grab the viewers with a low tolerance, and offers new twists like the well-written family dynamic and some surprising dream sequences for the high tolerance folks like myself. Dark Skies will never go down as a revelation in the horror genre, but I'm pretty comfortable saying it does enough right to make it worth a viewing.
One of the earliest - and finest - film noirs, Billy Wilder's shadowy tale of murder and betrayal was co-written by Raymond Chandler, whose hard-boiled prose is evident in Fred MacMurray's narration. MacMurray - as the impossibly confident Walter Neff - is a revelation in the lead; a complete heel, but an attractive one, who somehow makes being an insurance salesman seem like the most glamorous (and sexy) occupation in the world. His life begins to collapse after he randomly meets Phyllis Dietrichson and - remarkably quickly - is convinced to plan the seemingly perfect murder of her husband. The excellent Edward G. Robinson plays Neff's friend and co-worker Barton Keyes, who starts to take apart the story piece by piece, until the only question becomes who will turn on who. Beautifully written, the film was a massive critical and commercial success upon release, and helped popularize the genre which would flourish over the following decade. Movie Feast
Based on the life of British army officer T. E. Lawrence, David Lean's Lawrence Of Arabia might very well be the most epic of all Hollywood films. Running over three hours, and featuring numerous massive battle scenes, the film remains anchored by its startling lead performances, including an impossibly young Peter O'Toole in the lead, and Omar Sharif's first English language performance as Lawrence's loyal friend Prince Faisal. The film shot for well over a year, with desert scenes filmed in Jordan and Morocco, as well as AlmerÃa and Doñana in Spain, and never has the desert seemed both so dangerous and so inviting. To see Lawrence of Arabia on a big screen is to be enveloped by cinema, as it provides a full sensory experience in a way that few films have ever been able to replicate. Beautiful, and timeless, what the film lacks in historical reality it more than makes up for in spectacle. Movie Feast
Hollywood’s handling of the career of Dwayne “The Rock†Johnson has been fascinating to watch. Upon making his feature film acting debut in 2000’s The Mummy Returns, it was clear that the former WWE World Champion brought the same amount of charisma that the big screen as he had used to catapult himself to become one of the most popular stars in wrestling history; the problem has always been the inability to turn him into the role he was seemingly born to play: his generation’s Ahnold or Sly.
In Snitch, Johnson plays John Matthews, a successful businessman torn from his comfortable life by his son’s arrest for distribution of narcotics. Even though this is the kid’s first offence, the boy is looking at serving ten years in prison due to mandatory minimum sentencing for drug trafficking. Attempting to cut a deal with the Feds in order to spring his son, John offers to work undercover to ensnare local drug dealers. His plan works a little too well, and soon his family is being threatened by Mexican drug cartel members.
What should be a fairly simple action revenge tale is held back by its “based on true events†origins. Now, I have no idea what the real story is here; it’s probably safe to say that one of the filmmakers heard a story about someone getting busted for dealing drugs and here we are. The failure here is that by attempting to bring reality into a film that begs for a 30 minute shoot-out action sequence, we are left with a middling family drama with an awkward moral calling for leniency toward felons.
Johnson does a solid job with the material given to him, and its understandable why he would sign on to the film, but his is just one of several roles miscast. He is playing a father throwing himself into a world of drugs and violence, and his attempts to portray a man frightened by the people he surrounds himself with land with a thud of failure. Audiences waiting for Johnson’s first great role will only be left with disappointment once again after watching Snitch.
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Midnight Movie of the Week #163 - Halloween III: Season of the Witch
When I was a teenager, I hated Halloween III with a pretty solid passion. Or at least I said I did. I think I always kind of enjoyed the completely nonsensical film, but I was a Michael Myers fanboy extraordinaire, and I was all "OH MY GOD, I can't believe they tried to make a Halloween movie without Michael! How dare they mess with the integrity of Halloween II! As if!" I was kind of a mix between Alicia Silverstone in Clueless and WCW superstar Lance Storm at the time, because I used "As if!" and took things way too seriously. Then I kept getting older and I lightened up a bit.
Nowadays, I look at Halloween III: Season of the Witch and I just smile. I don't have disdain, I don't even laugh at it. Because the thing that confused teenage me is one of the most perfectly abstract and ridiculously nightmarish horror movies out there. Sure, there are so many parts of it that don't make a lick of sense, but that's the beauty of Tommy Lee Wallace's bizarre addition to the Halloween franchise.
I suppose I should back up and clarify, in case there are some uninitiated folks reading this: Yes, Halloween III is in no way a sequel to Halloween II, nor is it related to Halloween - although the 1978 film actually has a cameo in this film. John Carpenter and Debra Hill, now producers to the series, would only agree to make a third film if it was not a direct follow up to the previous films, which led them to hire Hammer Films veteran Nigel Kneale to pen a new kind of thriller. Unfortunately for Kneale, and most likely the film's chances of being taken seriously, big budget producer Dino De Laurentiis wanted more blood and more gore, which resulted in Wallace scrambling to rewrite the script and Kneale removing his name from the film.
If you've seen the film and didn't know any of the information above - just like I did when I was younger - you would probably still figure out that all the cylinders weren't firing in the right rhythm as this film was made. The plot can't be explained without spoiling many of the film's twists - so anyone who hasn't seen it and REALLY wants to be befuddled should probably stop reading now and come back later - because the film just seems weird before we learn about the killer Halloween masks and robohenchmen and possible connection to druid rituals and star worship. (And when I say "star worship," I mean Ursa Major-style, not Bruce Willis-style.) These developments in the plot only make the film weirder, and attempts to clean up the story are dismissed as the antagonist says things like "a great magician never explains." It's a jumble of bad ideas, but it's a darn fun jumble.
The plot is all over the place, but it's not a big deal because the film has so much fun with it. Things are taken very seriously, as the musical score by Carpenter and Alan Howarth (which is seriously one of my favorite horror scores ever) pulsates throughout, keeping pace with the tension of the mysterious plot. The first act is full on murder mystery, and I can't imagine being in the audience with a blind eye when this one was released. This had to be a Psycho style shock to the audience, if not in quality then at least in ridiculousness, because there really isn't anything like this movie's plot out there. Considering it was billed as the follow-up to two of the prototypes for the slasher film - which had become a booming industry in the past five years - there had to be more than a few viewers completely taken by surprise when the mystical mask murder plot became evident.
For me, it's almost impossible to look at Halloween III and not think "What they heck were they thinking?" But I'm so grateful that this mistake of a masterpiece was allowed to be. As the film becomes a bizarre showdown between the overly manly Tom Atkins and the sardonic Don O'Herlihy, it becomes more and more noticeable that the talents involved in this film far outweigh the script's difficulties. Halloween III doesn't make a ton of sense - heck, it's subtitled SEASON OF THE WITCH and the only witch is a Halloween mask - but it's a well made mess (by the way, it's also one of the best looking horror films of the '80s) with great actors and that musical score that alone is worth the price of admission. I see why young me hated it, and yet I see why new me recognizes that young me was a doofus. And I'm fine with that.
A financial failure upon its release, Vertigo's reputation has slowly grown over the decades until it's now considered one of Hitchcock's very best - if not THE best. It's certainly one of his most psychologically fascinating, as a retired police officer suffering from acrophobia (Jimmy Stewart) is hired to follow the wife (played by Kim Novak) of a wealthy old friend, who the friend suspects has been possessed by the suicidal spirit of her ancestor. Of course there's Hitchcock's usual obsessions, but everyone is working at the top of their game here - from Saul Bass' incredible opening title sequence to Bernard Herrmann's unforgettable score. Much was made of the age different between Novak and Stewart in the film, but Stewart actually gives one of his best performances as a man tortured by memory and his own weakness. Movie Feast
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I first encountered the work of Dom Portalla and Ken Flott, the men behind the short feature Nicky, in the fall of 2010. Portalla had directed the ambitious low-budget thriller The Darkness Within (which came to me via longtime friend of FMWL Cortez the Killer over at the rockin' Planet of Terror), which featured a key side performance by the attention grabbing Flott. It was a good little film that piqued my interest in the folks at Door Eleven Productions, and that interest has thankfully led me to a pretty fantastic short film today.
As a bit of an obsessive nerd, I remember a lot of weird things that I hear on the internet. Back when I was checking out that flick, I remember a tweet or interview or podcast or something featuring Portalla where he was talking about some kind of difficulty with the film's story and was resigned to admit something like "Thankfully, we had Flott." I remember being taken aback by the frankness of the director, who seemed unwavering in his confidence that this man was a one-of-a-kind talent. Seeing what they've done now, it's easy for me to understand why.
Which brings us to Nicky, which is directed by Portalla, based on a short story by Flott, and co-written by the duo. Look at the poster and you will literally see three lines of credits that feature only these two names, plus Flott as the top billed member of the cast.This is by no means a two man show entirely - the 30 minute short has more characters and settings than you'd expect based on its length - but it is a showcase for Flott, who moves through the film and commands our attention at every turn.
The story follows Flott as a nameless man who is searching for his little brother, Nicky, who vanished years ago without a trace. We learn a lot about the man through an inner monologue that plays as narration - not to mention his brief conversations with his unconventional best friend - and it's not hard to see where the plot is going as we watch this man move through his life. But, as he did in The Darkness Within, Flott demands our attention and makes the character fascinating.
His journey goes to dark places, which makes Nicky a trip down an unsettling rabbit hole. There's violence and there's foul language and there's even the obvious statement about human trafficking, but there are also some truly unsettling moments that go beyond the expected. The appearances of young Charles Everett Tacker as the title character - usually accompanied by a beautiful score by Danielle Samson - add an air of mystery to the film and push us to that great spot where we're not quite sure what to believe. The end result of these scenes will surely be some conversation about what happened or didn't happen, what was "real" or "not real".
Nicky is an impressive piece of filmmaking. It's put together well by Portalla, well acted by Flott and company, and - most importantly - unique and engaging. It left me wanting more - it's easy to see this story blown up to feature status with all the questions that remain and the characters that are being established - but it also left me satisfied with what it is. The Darkness Within seemed like a fun diversion, the kind of flick a bunch of talented friends make when they're just seeing what they can do. Nicky seems like the next step in the evolution of Portalla and company as filmmakers, and I'm willing to guess that anyone who meets Nicky won't soon forget it.
For more information on Nicky and Door Eleven Productions, make sure to head over to their official site or hit the film up on Facebook. And, of course, check out the trailer below.
One of the most scrutinized genres of film is the zombie flick. From endless arguments based on whether an undead cannibalistic corpse should have the ability to run, or just wander around slowly with their arms outstretched toward their victims, many horror nerds have spent years of their lives debating the attributes of these fictional monsters. Well folks, if you thought Zack Snyder’s Dawn of the Dead remake was hotly contested amongst creature-feature fans, you haven’t seen nothing like the fits people are about to throw over Warm Bodies!
Warm Bodies is the tale of R (Nicholas Hoult), a zombie of unknown age who spends his days pacing around an airport. Serving as our narrator, he tells the audience that he has no recollection of how everyone became a zombie, or why some have made homes in areas that seemingly brought them comfort at one time.
While on a hunt with a group of zombies, including his best friend M (Rob Cordrry), R stumbles upon a group of living survivors from a local fortified settlement. After a brief skirmish, the zombies completely massacre the humans, leaving only Julie (Teresa Palmer) alive. Falling in love at first sight, R saves Julie from the horde of flesh-eaters. They quickly develop a friendship, and R attempts to help Julie return to her home and father (John Malkovich).
I took notice of director Jonathan Levine last year upon the release of 50/50; I felt some scenes in that dramedy were among the most inventive of all 2011. A young man with a checkered filmography (The Wackness underwhelms, while All the Boys Love Mandy Lane never received a proper release), I put Levine on my mental list of directors to keep an eye on in the future. Well, this is his first feature since 50/50 and this is a huge misfire. Seemingly a simple paycheck job, there is no personal touch to be found from the auteur, with the actors left on their own to make the romance work.
Hoult and Palmer are fine, if mediocre, in the starring roles of the mismatched couple. Hoult is all grown up since starring in About a Boy in the titular role of Boy, but shows little in the way of the charisma most would assume to be necessary for a rotting corpse to attract a beautiful young lady. Palmer does okay as Julie, but it seems as if someone on the filmmaking side of the production just threw a copy of Twilight at her and said, “Be this.†While certainly better than Kristen Stewart in that franchise, Palmer is called to do little more than bite her lip from time to time and act demur around the dead folks.
While not an embarrassment for those involved, Warm Bodies is a trifle that will soon be forgotten by the public and will work its way down the resumes of those responsible. If you are a zombie completist knock yourself out; all others steer clear and catch one of those Best Picture nominees you’ve been putting off.
The snuff film is back with Gut, a psychological indie thriller that aims to draw us in with a deep focus on death. It's not entirely successful in this regard, but it does leave an impression as a unique addition to the horror genre.
The film follows a family man, Tom, and his co-worker and friend Dan. The two men live a relatively boring life, working in a boring office and eating lunch in a boring diner and reminiscing about the good old days - which sound like they were boring except for watching horror movies. The thing is that Tom is Mr. Serious Married Man now and has little interest in those olden days, while Tom just wants to hang out and watch horror movies like Return of the Living Dead 3.
Since Tom is embracing the boring, the only way Dan can get his attention is by upping the stakes - which means he starts ordering gonzo horror flicks that seem to consist entirely of stomachs being cut open - and which also seem to look extremely real. I'm not entirely sure this type of film appeals to me - then again, I have spent plenty of time watching YouTube videos of animals being vaporized by vehicles with friends - but Tom and Dan are soon enamored and trapped in the path of whoever makes these sadistic pieces of torture cinema.
The resulting events lead the characters into madness and violence, which you can bet makes their lives a little less boring. Along the way we learn that neither character is very wholesome - let alone very interesting - and we see their relationships with others quickly fall apart. There's some commentary about the people who chase violent thrills to be had here, which is probably the best thing to focus on in the film. If you can avoid getting too caught up in the acting (Jason Vail, who plays Tom, is especially wooden) and pacing (plenty of shots seem to hold for far too long) and get caught up in the mysteries of what is going on and why it's having such a dramatic effect on these men, you might not mind checking out Gut.
I'm not sure the whole film works. It's raw, but it's raw in a bad "we're being way too deliberate" way and not a good "we're bucking trends and making our own rules" way. The idea is interesting, and it's one of those stories that could be fleshed out more with more interesting characters and more intrigue. Worst of all, the conclusion is incredibly disappointing, wrapping up with a previously teased confrontation that doesn't answer most of our questions. Part of that problem is on the actors - again, I just couldn't get past the stiff performance by Vail - but it's also a problem that the film gives us so much information and so little conclusion.
Gut has plenty of problems but, as I said in the opening, it at least leaves an impression. The snuff-ish sequences are definitely unsettling, and the sequences that surround them - as we watch the male characters become increasingly enamored in them - provoke a lot of thought. The whole product isn't fantastic, but it at least has moments that show a lot of promise. I'd be fascinated to see what writer/director Elias has up his sleeve in the future, because Gut feels like a starting point for an intelligent horror director's career - if he can get the right people around him. Gut is worth keeping an eye out for if you're a fan of human horror, but to me it ended up as more of an interesting attempt than a winning success.
For more info on Gut, head on over to the official site or Facebook page. The film is available for rent on plenty of platforms, details of which you can find at those links.
Leviathan is a total rip off. I will get that out of the way now, because I've already made peace with it. This is Alien, but underwater and mixed with a dose of The Thing. That's it. It's not a deep (well, it is underwater, but I meant the other kind of deep) movie, not a particularly well made movie, and arguably not even a good movie. But I still love it.
Don't mistake that for me saying this movie is "so bad it's good", because anyone who knows me knows I don't have the bone that thinks that about horror movies in my body. Leviathan is popcorn sci-fi/horror, and it's basically the movie Alien would have been if everyone on set was cracking back beers and laughing and having a good time while just doing their thing. That's not a crack on Alien either, because that thing is a masterpiece of tension in cinema, it's just a commendation regarding what Leviathan has to offer.
So why is Leviathan so appealing to me? For starters, it has what I consider to be an all-star cast. No, these aren't the names that headline box office blockbusters, but the cast seems to be packed by folks who have consistently made great genre flicks better. Peter "Robocop" Weller takes the lead as the captain of this undersea mining crew (reuniting with director George P. Cosmatos, who directed him in the fantastic Of Unknown Origin), and he's joined by stars of many of the 1980s' most memorable films. There's Richard Crenna of the Rambo films (the second of which was also directed by Cosmatos), Ernie Hudson (a bonafide Ghostbuster!), Amanda Pays of TV's The Flash, Daniel Stern (obligatory C.H.U.D. comment), Beverly Hills Cop's Lisa Eilbacher, and Hector Elizondo - who's been in stuff, but for some reason I just know him as Hector Elizondo. Am I forgetting anyone? Why yes, I am - because we also have that evil wench Meg Foster - from Masters of the Universe and They Live(!) - as the humanized equivalent of Alien's "mother."
It's a relatively small part of the film, but I can't even begin to explain how much the interactions between Weller's worker bee and Foster's queen bee(-otch) make me smile. Foster is one of those performers who is forever on my "I want bad things to happen to them" list after her performance in They Live. I'm not saying she was a bad actress in that film, I'm saying the character she played was so hateable that I inherently hate any other character she plays. And this character does a good job of earning that hate, while Weller benefits greatly from simply being on the other side of their interactions. And man...well, wait...I have to come back to this later.
As you may have guessed from my comparisons to films like Alien and The Thing, this isn't just a movie about a deep sea mining crew and the ice queen back on land. (By the way, it is IMPOSSIBLE for me to talk about Meg Foster and not use the term "ice queen" at least once. It's the eyes, they earn it.) The simple version of the plot should look pretty familiar to genre fans - the crew finds a destroyed foreign ship which holds a bit of mystery and an unnatural force that soon is unleashed upon them and forces them to fight for survival. Like I said, it's not original. But the film does manage to have some unique moments of surprise and some fantastically gooey monster sequences (thanks to creature work by the legendary Stan Winston), even if it does seem like a series of "chestbuster" moments.
Most movies would lose a lot of steam by being so derivative, but Leviathan works because the cast is clearly having fun - one particular exchange between Foster and Hudson still makes me howl with laughter - and because Cosmatos keeps the film moving at a brisk pace that blocks our brain from noticing how ridiculous things are in the moment. It all builds to a truly manic finale, a sequence which adds new terrors, kills off a seemingly safe character for no reason, reintroduces an old terror, and promptly ends with one of the most unique moments in genre history. I'm not going to say that it's right, I'm just going to say that the first in person interaction between Foster and Weller's characters makes up for anything else wrong with the movie and gets me pumping my cheese-lovin' fists. More serious movies wouldn't add the final touch that this film does, and many modern movies wouldn't get away with trying it. Alas, Leviathan exists on its own terms, and the result is a film that is always entertaining in its own ways.
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