Moonlighting

Tweet

Share on Tumblr By Craig R.

Not only do I like foreign genre movies, but I also like classics. As a result, I occasionally contribute to The Speakeasy. I've never mentioned it here because there has never been any overlap of content areas. However, the overlap has finally occurred.

My latest contribution is a post about Dr. Fu Manchu, for a villain blogathon. The overlap doesn't come because the titular supervillain is Chinese, but because one of the films, The Vengeance of Dr, Fu Manchu, was produced by the legendary Shaw Brothers. 

Three Words: Christopher F'ing Lee

                                                        

I am fond of saying, though this is the first time here, that I'm never finished with a written composition, I just quit. Unfortunately, after I quit, save, and submit it, like the snappy comeback one thinks of hours later, I think of something that I should've added. I use the tenuous connection to our standard content to make the missed point.

In the piece, I relate that Fu Manchu was the embodiment of what was referred to as "The Yellow Peril", which was the anxiety experienced by European countries over Asian countries becoming geopolitical forces. Later I mentioned that although Fu, for any number of reasons, had lost popularity as a cinematic figure, there may be a possibility for a comeback. 

The point I had made for a comeback was that period mysteries/adventures, such as the Sherlock Holmes films have had some success. The point that I would like to add is that China has become a major world power, and a scary one, at that. Whether the nefarious stories are true or not, of cyber attacks waged on other countries, and other such forms of espionage are things that are right up Fu's alley.

Another point: In the post, I made a joke about Nicholas Cage: "Fu Manchu is a great supervillain... played by many great actors, and Nicolas Cage...", which I feel that I need to clarify. Cage, while he has won an Oscar, and has appeared in many successful films, is a ham. 

Being a ham doesn't necessarily make him a bad actor, but he just usually tends to play different variations of the same crazy dude. Good or bad, he makes it work, and he deserves every bit of success that he has received. After all, I have enjoyed many hours of his hammy acting.

Please go read the original post here. Kristina, the proprietor of The Speakeasy, is a good friend of this blog so please drop in. 

An Example of Why Viking Samurai Exists (Hollywood Sucks)

Tweet

Share on Tumblr By Craig R  
       

"I've got your good tidings right here!"

                                                                 

One reason that this blog was started was that we both noticed that we were both watching mostly foreign genre movies. We had independently developed this preference because Hollywood is basically out of ideas. Most of the genre garbage that comes out there is, more often than not, simply a variation of a handful of themes, or a remake or sequel. Foreign films tend to be more original or at least have a unique take on a well-worn theme. When Hollywood does try to be original, more often than not, they just try to sex up a well-known story or figure (Abraham Lincoln: Vampire Slayer), often with disastrous results.

The most recent example is the forthcoming Winter's Knight, which is supposed to explore the the origins of Santa Claus, making him into a badass action hero. Alternately, the Finnish Rare Exports: A Christmas Tale suggests that his origin was as a supernatural being who punished naughty children, instead of rewarding the good. This is essentially a take of the general practice of scary Christmas legends, like Krampus, being replaced by the more gentle Santa/Saint Nick. On the other hand, Hollywood goes the route of making up a whole new origin for Santa, where he's a Greek Bishop who fought Vikings, or something..

The Old Boss

The New Boss

Cracked has an excellent piece that explains why Winter's Knight will be terrible, and outlines our grievances with Hollywood (Warning: There is salty language).. In the meantime, we recommend a viewing of Rare Exports (available on Netflix Instant).

7 Dwarves: Men Alone in The Woods

Tweet

Share on Tumblr

By Craig R.

                                      

Until now, my only exposure to German humor has been Sprockets, on Saturday Night Live, which one could argue doesn't count. I have generally stayed away from German humor because of prejudice in thinking that they are a dour, brooding people. I guess that may be a result of watching only German horror, World War II movies, and documentaries on the History/Military Channel. I wasn't sure of what I was getting myself into with this experimentation.

Not appearing in this film.

                         

7 Dwarfs, (in German: 7 Zwerge), is not surprisingly a take on the Grimm Brothers’ story. It is set in an alternate universe (I’m guessing), where there is a bright side, the cozy home for humans, which was created in 6 days, and a dark side, the Sinister Forest, which was created on the 7th. Of course, the Dwarfs live in the Sinister Forest.  A river separates the two, which no one is supposed to cross. We are introduced to the dwarfs when Little Red Riding Hood crosses the bridge, tempted by a flower, and is seen by one of them (Bibi).
                                                                    

                             

This kind of sets events into motion, because Bubi had never seen a woman before, and becomes curious, asking "Are there any more of those creatures with no willie?". The others, led by Brummboss, try to curb his interest, by reminding him that he was abandoned  (tossed out of a hot air balloon) by his mother, who was a bank robber, so that she could make an escape. They decide to take measures to prevent any more women from crossing the river. Since they are unable to blow up the bridge, they use other, much less effective, means.

Meanwhile, we are introduced to the Evil Queen, who, as usual, is vain, and being blonde, all of the jokes her jester tells must be about brunettes (he is later thrown in the dungeon because he is caught telling blonde jokes). When asking her mirror the usual question, (Do I really need to tell you?) finds out that Snow White is still alive (servants were told to "get rid" of her, but thought that meant to take her to an orphanage). After the Queen sends her huntsman to find Snow White, the mirror warns her, and she escapes to the Sinister Forest.

    

The rest of the story plays out pretty much the same as the story that we are familiar with: Snow White meets the Dwarfs, and improves their lives. The Huntsman and the Queen pursue Snow into the forest, eventually capturing her, in order to execute her (for the crime of deliberate & delicious beauty). The Dwarfs go to the rescue. Being a comedy, there are detours on their way to the rescue, but of course the dwarfs eventually succeed. There is at least one twist, though not really surprising, if one is paying attention, but I won't spoil it.

Snow White and the lads

A running joke is that they aren't really dwarfs, they just call themselves that. They don't even have real beards, but fake ones that they wear whenever going out into the forest. They are actually a sort of He-Man Woman Haters' Club, like in the Our Gang series (google it). They are each in the forest to get away from women, who had somehow done them a serious (mostly perceived) wrong. Each had answered an ad placed by Brummboss.  

You thought I was lying about the beards?

This movie is really funny, and dense with jokes. I generally dislike comparisons to other movies, but it's necessary here, because the humor covers a broad range. Like with the Police Squad and Airplane franchises, and Mel Brooks films there are constant gags. Even during serious scenes, there is something happening in the background, sometimes subtle, sometimes not. Also like those films, much of the humor is visual and absurd, and based on the characters not being very bright, or as bright as they think they are.

There is also quite a bit of slapstick humor (their favorite games involve hitting each other with boards), like The Three Stooges.  Most of the Stooge-type humor is dealt in a Moe Howard style. Unfortunately for Bubi, he, like Larry Fine, gets most of the abuse.

Of all of the characters, only Brummboss, and the Queen's Jester appear to have any sense. Well, that might not be totally fair, since Snow White and  Bubi's cluelessness probably has more to do with their naiveté than lack of sense or intelligence. At the beginning of the film, Snow is only 17, and Bubi has only ever known the forest, and what the other dwarfs have told him (If women are nice to you, it's only to trick you).

I have two major pet peeves about comedies, bathroom humor, and direct references to other movies. Thankfully, there is no bathroom humor in this film, though there is some mild sexual innuendo (the Dwarfs' hats pointing straight up when they first meet Snow White, and the "willie" remark"). My other peeve is present here, though there is only one occurrence. At one point, pretty much randomly, Brummboss seeks the counsel of a Gandalf-type character (please don't admit to googling that). Really, that is my only criticism of the movie, it just sticks out, and didn't seem to help move the action. Unless a film is a sequel or a type of spin off, it should be like cheese, and stand alone.

I highly recommend 7 Dwarfs. It is highly amusing, and is quickly paced, a great, original take on the classic story, and the cast all appear to be great comedic actors. Having been filmed entirely on a soundstage, it has a classic fairy tale-type feel. Unless I missed something, outside of the slight innuendo, it is probably suitable for all ages.

To summarize how much I enjoyed this film, I rarely laugh during Comedies, but I laughed out loud more than a few times watching it.

7 Dwarfs is in German, with subtitles, and is available on Netflix and Amazon Instant. I give it 6 1/2 of 7 pointy hats. I docked it 1/2 a hat because of a terrible song, their version of Hi-Ho, Hi-Ho. 

Note: The trailer below has no subtitles, but it still gives a great feel for the movie.

                                                                


                                         7 Zwerge Trailer

Iron Sky (or How Politics Ruined A Foolproof Concept)

Tweet

Share on Tumblr

By Craig R.

This is not an overtly political blog. Genre movies should not have overtly political messages,  and if there is one, it should be subtle enough that the viewer does not notice it until long after it is over. Yes, Matt and I are conservatives, and fair or not, that affects the way we view movies. That being said, the following review is a political screed, and I would promise that it won’t happen again, but I don’t want to make myself into a liar later on. 

Nazis. On. The. Moon. What a perfect, foolproof idea! Nazis are the gift that just keep giving. They were so diabolical that they make the perfect villain. In a world that many want to view as having many shades of grey, they were pure evil. They were also secretive, and they controlled so much of Europe, that new things are constantly being discovered about them, and there are some things that the world may never know. That is the basis of Iron Sky, that towards the end of the war, a group of Nazis escaped to the moon, and built a secret base, with plans to one day return to the Earth and conquer it. That is just a great freaking idea.

Unfortunately, the people behind the film blew it. As I mentioned before, if a genre film, heck, any type if film, has a message, it should be subtle enough that if someone wants to think back over their viewing, they might realize the message on their own, and easily put it out of their mind, if they so choose. If a film has an overt message, it can offend viewers, who relate their displeasure to their friends and family, who in turn may choose not to see the film. The latter route is the one that Iron Sky chose to take.

Their mistake, as far as whatever my opinion is worth, was to blatantly mock Sarah Palin. The first time you see the character based on her, she’s working out on a stair climber, in the Oval Office, dressed similarly to the famous Runner’s World cover:

Anyway, the character is portrayed as Palin often is, as something of a shallow ditz. The basic plot, or what I gathered from as much as I could bear to watch, was that for her reelection, she chose, or her staff directed her to choose (because they’re her puppet masters dontcha’ know) an ethnic male model, to attract certain voter blocs. He is then sent on a mission to the moon, where he stumbles upon the Nazi base, and is captured. That’s about as far as I got.

I quit watching when the Palin character was introduced. Lampooning her in such a blatant way irritated me, to the point that I couldn’t focus on the movie any longer. I wasn’t annoyed by the simple fact they mocked her. Every pubic figure has aspects of their personality that are fair game to be mocked. The problem I had was the fact that they were lazy about it. All they basically did with the character was copy a Saturday Night Live skit, where they made her look dumb. Whether you are a fan of Palin’s, or not, that is just plain lazy, and you should be offended by that. 

The reason that you should be offended is that the writers didn’t think any more of their target audience than to throw a caricature at you. There should be no sacred cows in satire, but for the love of Pete, if you’re going to mock someone, be creative about it. A personal example: I’m a native Southerner, and for my entire life, we’ve been mocked as dumb, inbred rednecks. Anyway, back in the ‘80s (I think) Dennis Miller refers to the South as “Darwin’s Waiting Room”. Was I offended? Heck no, I thought it was hilarious. Why? He actually put thought into his insult, which in an odd way showed respect for both the target, and the audience. 

Wow, I got way off track there. 

I tried to watch Iron Sky about five months ago, to do a review here. I quit watching between fifteen and thirty minutes into it, after the Palin character was introduced. I had totally put it out of my mind, until today. Whatever genius was running Netflix’s Twitter account decided that it would be a good idea to tweet this:

Wow, way to go, on the day that they announced that they were losing the Warner Brothers catalogue. Last year they lost Starz, and they may very well lose Viacom. Those titles just aren’t going away, they are going to competitors, and it is not a wise move to risk alienating probably about half of their subscribers, by directly linking Iron Sky to Palin.

Outside of politics, here’s my review of what I managed to see: It’s a B-Movie, albeit with pretty good production values. The acting is over-the-top, all the characters I saw were caricatures, and the dialogue was pretty terrible, as one should expect from such a film.

Do I recommend it? You’re kidding, right? I’m not even going to bother rating it, especially since I don’t remember enough about it to rate it on one of my quirky scales.

A production of Germany, Finland,  and Australia, Iron Sky is in English and German

Ichi

Tweet

Share on Tumblr

 By Craig R.

As I've mentioned before, Samurai films are, by far, my favorite film genre. Chief among them (no disrespect to Kurosawa, who I adore) is the Zatoichi series (films and TV). They starred Shintaro Katsu, as Zatoichi, a blind masseur, who, like Caine, in Kung Fu, walked from place to place, meeting people, and getting into adventures. Seriously, he was also a master swordsman, who did travel, making his living giving massages, and gambling (dice). He usually ended up getting involved in some type of conflict, protecting the innocent, usually from the Yakuza, and correcting injustices. One of the movies was remade in 1989, as Blind Fury, starring the immortal Rutger Hauer. There was also a version released in 2003, starring the great Takeshi Kitano, in the title role.

This Ichi

Not this one - Big difference

Ichi is a homage/spinoff of that series. The main character is Ichi (not to be confused with Ichi The Killer), a blind musician, who, as an infant, was rescued by Zatoichi, and taken to live with a group of blind women. There, she lives, and was educated (Zatoichi would also visit her there, and train her to fight), until she was expelled after being falsely accused of having an affair, which was forbidden. Note: She is often addressed as "Goze", which was a title given to blind women. After her expulsion, she roams from town to town, searching for her mentor. Along the way, she makes a living by giving musical performances, and gambling (dice, as well).

The film opens with a Ronin (masterless Samurai) Fujihira Toma attempting to rescue Ichi from being attacked by a group of bandits. Instead, since he is incapable of drawing his sword, she rescues him. From there, they travel to a village, where she helps him win money playing dice, to replace some that he'd lost in his attempt to save her. Annoyed at Toma’s winning, and not giving them a chance to win back their money, bandits attach him and Ichi. Once again, Ichi saves him. A group of businessmen come upon the aftermath, and mistaking it as Toma's work, and hire him to be a bodyguard.  

When a government official comes to visit, the village, hoping to gain some protection from him, puts on a show. During the show, the bandits attack, and to end it, Ichi offers herself as a hostage. Her real motive for doing so is that the leader of the bandits, Banki, a former Samurai, supposedly knows of Zatoichi's fate. This sets up the chain of events that lead to the climactic battle.

I really like a lot about this film, but have a few issues. It is beautifully produced and directed. The scenery and costuming are fantastic. The characters are appropriately cast, none of the actors seemed out of place. It also has the themes of courage, honor, and sacrifice, common to most films of this genre.

Haruka Ayase does an excellent job as Ichi. She gives an effective, but subtle performance. Ichi is appropriately sullen, considering the hardships that she had to endure, but made stronger by them. She is very convincing as a blind person (Another note: Katsu and Kitano both played Zatoichi with their eyes mostly closed. Ayase plays Ichi with her eyes open). The developing friendship with Toma is played out very well. She starts out as tolerating him, and treating him with contempt, but later becomes his friend. The two share a couple moments that are quite touching.

Most films of this genre seem to have some type of comic relief. Most of this is provided by, or at the expense of Toma. The reason for him not being able to draw his sword is shown in flashbacks, and is quite tragic, but this inability is often played to comedic effect. Also, one of the other characters frequently changes his name to “Ton-ma”, a slight mispronunciation that means “dim witted”, which amusingly flusters him. Takao Osawa gives a strong performance in this role. Though a skilled fighter, his inability to draw humbles him, and the shame and frustration is evident. He does a great job portraying the arc from being sort of buffoonish to becoming a hero.

The villains are almost cartoonish, yet suitably deranged, frequently laughing maniacally, at inappropriate times. Banki (Shido Nakamura - Letters from Iwo JIma) a former Samurai, who was so disfigured from a battle, that he was expelled from his clan, wears a mask, and kills anyone who sees him without it. He was a good villain, but I always got the feeling that he'd be better suited for a '70's Kung Fu movie. I was occasionally distracted, because his main henchman (played by Takeuchi Riki, who apparently makes a living off of playing totally unhinged characters) looked like Wayne Newton, and several others look like Elvis impersonators.

Wayne Newton, is that you?

The main issue I have with it is that it was dubbed into English. Most of that was done pretty well, with most of the voices being seamless. However, a couple voices do sound like those from the aforementioned Kung Fu movies. I suspect that this may be because the actors are trying to imitate the rhythm of the Japanese language.

The film moves rather slowly, at times, and could've been a good deal shorter. However, it makes up for that by having a sword fight about every 15 minutes, with multiple combatants, and a battle between the villagers and the bandits. If you choose to watch, notice the unique way Ichi holds her sword (shown in the trailer below). I did have a problem with Ichi being a secondary character for about a quarter of the film, unable to do much, after losing a brutal duel. This is done to allow Toma to redeem himself, through heroic actions, that result from her captivity.

Flashbacks are put to great use, to explain Ichi and Toma's backstories, though there was additional exposition. The two could've been combined, in some instances, to help with pacing. Ichi’s flashbacks first show how she was rescued, then trained by Zatoichi. In a matter of minutes, they effectively establish the relationship between the two. They also show her life with the other Goze, her training with Zatoichi, and the reason for her expulsion. Toma’s shows the tragedy that prevents him from drawing his weapon.

While not a masterpiece, it is quite enjoyable, this was actually my second viewing. If you enjoy this, or not, or choose not to not even watch, I recommend the classic Zatoichi films, which may eventually  get their own posts. There are several available, for free, on Hulu.

Ichi’s original language Japanese, but is dubbed in English (I originally saw it with subtitles). It is Rated-R, with a run time of 1 hour, 58 minutes, and is available on Netflix, and Amazon Instant.

I give if 3, out of four cane swords.

Chawz, in Which Pigs Get Some Sweet, Sweet Revenge

Tweet

Share on Tumblr By Craig R.

Jaws, and a select few other monster movies, was very effective because for much of the film, the shark was never seen, leaving much to the imagination. The Andy Griffith Show was great because it was about a competent Sheriff surrounded by small town eccentrics. Chawz, a South Korean (I'm not sure if there's any other kind of Korean film) film that effectively borrows more than a few elements from both of those classics, as well as others (Roger Corman productions, Predator).

Not Appearing in this film

This film is about a rural Korean village, Sam-Re-Me, that dubs itself "The village without crime", that has a series of animal attacks. It so happens that at the same time the town is promoting itself to bring in tourists to harvest their "organic" crops. As in Jaws, town leaders want the attacks covered up. I'm going to continue under the assumption that anyone reading this has seen Jaws, so "as in Jaws" should be implied whenever an element of the plot is mentioned (in case you've never seen Jaws, go here). At about this time, Officer Kim Kang-Soo is transferred to town, from Seoul. He wound up there, because as a joke, he wrote "anywhere" on a transfer request. He moves there with his wife, and somewhat eccentric, possibly demented, mother. He is what I'd consider the Andy Griffith character in this film. With the exception of Kim, and Inspector Shin (who never removes his sunglasses), the rest of the police force, including the Captain are Barney Fife types.

 Nope, him neither

                                                                
It turns out that the creature in question is is a seemingly indestructible, man-eatingmutant boar. After several attacks, professional hunters are brought in to track it down. Of course they kill a pig that turns out to be the wrong one. The deceased turns out to be the mate of our man eater.

After the boar attacks a celebration at the town hall, an expedition is formed to track it down. The party is led by two big game hunters Chun Il-Man (a retired legend, and the grandfather of one of the victims) and Baek Man-Bae (the estranged, glory-seeking protégé of Chun). It also includes Byun Soo-Ryun, a Biologist, as well as Kim, and Shin. Kim's mother even tags along for a while. Once they get into the mountains, events occur that turn them from being the hunters, to the hunted.

There are several attempts to kill it, which of course fail. There rea couple of long chases, where it chases our protagonists. The climax, and epilogue are reminiscent of other creature features, but different enough to be unique. Stick around until the credits roll, there is an amusing extra scene.

I thoroughly enjoyed this film. There is quite a bit of humor in almost every scene, making it a great black comedy. Most of the characters are pretty well fleshed-out, and interesting. The eccentric villagers, even one who randomly appears, seemingly, just for the sake of weirdness, are all thoroughly so.

The effects, even the CGI pigs, are all quite effective. There is a more than sufficient amount of carnage, and most of the attacks, where the boar makes a kill, leave much to the imagination. It is also beautifully shot, and there is excellent character interaction.

This film does seem to have a couple messages, though not heavily played. A suspected origin of the mutant pigs is that they resulted from experiments performed by the Japanese military during World War II. This continues a theme that I've noticed in many Asian films, from countries that were occupied by Japan. They often take subtle jabs at that nation, as causing the problem, as is the case here, or as villains, as in a couple of Bruce Lee's films. Also, Byun suggests that the pigs have come down from the mountains because of deforesting done for farming. One could also interpret the attempts to cover up the attacks as a jab at corruption.

This is a great film, in which couldn't find any major flaws, or annoyances. The dialogue is in Korean, with subtitles. It is Rated-R (language and violence), and run time is 2 hours, 1 minute, and is available on Netflix Instant.

I give it four, out of four, mutant pigs.

Mutants? Meh

Tweet

Share on Tumblr By Craig R.

This review was really hard to write. I didn't hate this movie, I didn't particularly like it, I'm aggressively ambivalent about it. When that's the case, it's really hard to praise it, yet hard to trash it. I watched all of it, so I figured that I might as well make an attempt to write a review. This is one of those movies that's hard to tell much about without any spoilers, but I shall do my best.


Mutants has promising start. It begins in the middle of a zombie apocalypse, where apparently most of the population has been infected with a virus, that has turned them into zombies (unfortunately, the running kind). Our main characters are Marco and Sonia, a couple who happen to be EMTs, who are attempting to make their way to the safety of a military base. They don't quite make it there, and have to hunker down in an abandoned building, after. Along the way, Marco becomes infected, and the rest of the film involves Sonia trying to cure him, while they are waiting for help to arrive, and some of the usual elements of this genre (an incursion by other survivors, and a zombie siege). 


Mutants attempts to do something different within the genre. Many of these type films are so packed with zombie attacks that they don't have much time to get into interpersonal interactions. This film spends too much of its run time, actually most of the time, doing that. This is an interesting touch, watching Sonia deal with Marco's gruelingly slow transformation into a zombie. However, the downside of that aspect is that about an hour of this film, except for Marco, is zombie-free. Either they had that much because they couldn't afford more zombies, or they didn't have many because of the story, whatever.


Before I get into what I didn't like about this film, I'll address what I actually did like about it. It is very well-made, the characters are well-written, and acted, the cinematography is great, as are the effects, most dealing with Marco. The aspect of dealing with Marco's transformation, and Sonia dealing with it are very effective, but did I mention that it takes up way too much of the movie? It does, and it becomes annoying. The reason that she goes to such lengths is explained late in the film, but I won't spoil that for you, in case you decide to give it a viewing. 


Now, let's review what I didn't like. First, for a zombie apocolypese, it was pretty meager. There were maybe twelve of them in the entire film. Also, our protagonists are able to drive for quite a while on roads, where there is not an abandoned car in site. This is the first time that I've ever watched anything that is zombie-related, where the characters do any amount of travelling, and the roads are not blocked at all. 


Also, there is a disappointing lack of carnage. Did I mention that there aren't many zombies? There aren't any burning buildings, and pretty much any structure they enter is pristine. The building Marco and Sonia end up staying in basically looks like everyone had just gone home for the day, and there are virtually no signs that anything is amiss in the rest of the world. There's also electricity. If the apocolypse has been going for as long as the hints that it has, would there still be electricity?


In this genre, of the first things that people usually do when they find shelter is to harden it, boarding up and blacking out, to try to keep zombies out, and not draw attention to their location. Do Sonia and Marco do this? Noooo, of course not. Not only do enter the structure, and not even appear to make a feeble attempt to secure themselves against intrusion, but they don't even attempt to hide their presence. I found myself getting distracted, looking for ways that I could secure myself, in that situation. When they first arrive inside of the building, there is no power, but after a search, Sonia finds a breaker box. When she turns on the power, there is an outside shot, and the building lights up like a Christmas tree. I doubt that she even bothered to go around to turn out any of the unnecessary lights, it's just that kind of movie. Unfortunately, as is shown later in the film, other survivors don't even attempt to harden their location either. What is it with the French?


Probably the thing that bothered me the most of all is that not only did Marco's transformation take place over a couple days, but Sonia's carelessness during the situation. Not only does she not kill him once she figures out that he's infected, she doesn't even bother to restrain him. Look, I understand the reluctance to kill a loved one when you know that in short order he'll be set on making a meal out of you, I can't say that I'd react any differently, but at least take measures to protect yourself. Good grief, how did she survive so long?

I also understand maintaining the hope that once help arrives, the military will have found a cure, and Marco will be okay. However understanding I may be, once the dude starts vomiting blood, and growling and snapping at me, he's either going to be put down, or at least restrained. Our female protagonist never attempts to restrain Marco, this, he's able to terrorize her throughout the film, until his change is complete. After he tries to gnaw on her, he tells her that he's sorry, and she forgives him. This reminds me of the parable of the scorpion and the frog.


Another issue with this film is the zombies. First, they run. It's sad that these days, I'm surprised when a zombie movie has ones that don't run. Outside of trying to make things more exciting, or the MTV influence, another possible reason for running zombies occurred to me while I was watching this film. When zombies run, it's more difficult to focus on their features, because of some blurring & shakiness of the picture. This possibly enables the filmmakers to use less detailed makeup for the ones that aren't featured. Using the right type of lighting and shadows also helps this. That being said, Marco's makeup is very effective.

Secondly, there just aren't enough of them in this film. There are maybe a total of a dozen here. If you you're going to portray a zombie apocalypse, try to make it convincing. While this film has good production values, it appears to be low-budget, which would explain the measly number ghouls. In films like Rammbock: Berlin Undead, it is possible to be convincing with a small amount of zombies, if the setting is in close quarters. Unfortunately, this film's setting is too wide open for that to be done.

Finally, the zombies stray far from the canon that most films of this type stick to. In most works in this genre, the transformation occurs quickly, in minutes or hours, if not instantaneously, so that the uninfected often don't have time to prepare or react. If a transformation occurs over several days, how did the apocalypse happen? You know there's no cure for the condition, you know if someone's infected, and will turn, make preparations, if that's not done, maybe zombies deserve to rule the Earth. Also, zombies only attacks are usually grabbing and biting. Here, our ghouls hit, even straddle a victim, and pummel them MMA-style. The final violation is the way they are killed. It's pretty standard with this type of undead that the only way to kill them is to destroy the brain. A couple of them in this film are killed by damage to their throats, and bleeding out. That's just unacceptable. A few are burned, but that's acceptable, since theoretically, the fire damages their brains.

In spite of my criticisms, this is a decent film. It's shot well, has decent effects, the acting is fine, and it had an interesting concept. Unfortuantely, I had too many problems with it, and it was too slow, for an extended amount of time, for me to fully recommend it. Did I mention that there weren't enough zombies?
It is in French, with subtitles. Its run time is 1 hour, 29 minutes, and it is rated R. It is available on Netflix Instant. 

I give it 2 1/2 out of four purple zombies.