Let the Right One In (2008)

Let the Right One In (aka Låt den rätte komma in)
Sweden 2008
Director: Tomas Alfredson

With Kåre Hedebrant, Lina Leandersson, Per Ragnar
Language: Swedish

IMDb Link

While finding something original in today’s culture of remakes and re-imaginings is often difficult, finding a new idea in the horror genre is practically unheard of. Since most horror films deal in common character and story types, when a film simply attempts to do something slightly different with an established genre archetype the result can either be terrible and banal (leading to the return to and reinforcement of genre status quo) or remarkable and innovative, leading to new interpretations of old ideas. Let the Right One In manages the impossible, bringing a fresh approach to a well-known horror archetype while still keeping within the boundaries of the mythology.

The tone and mood of this film is set early and never wavers: cold, austere, and distant. Several times I had to remind myself that this film was released in 2008 and not the early 1970s; even the use of CGI (though sparing) doesn’t detract from this feeling. The main focus of this film seems to be realism, perhaps to balance the unreal elements of story. The director strikes a fine balance between real and unreal, giving a believable picture of a figure of classic horror mythology living in contemporary society.

The acting in this film is quite good, especially from the two young leads. Both give mature, natural performances that help to strengthen the film’s credibility and realism. These performances help to increase the atmosphere of isolation and loneliness central to the film. That said, however, there is genuine warmth and tenderness between the young boy and girl which is a credit to the ability of the young actors.

In a time where horror films seem to getting larger and louder, I’m always pleased to see a director with a light touch and the confidence to make a small film about large ideas. Let the Right One In is a cold, haunting film and a welcome new take on an old formula.

Colin Le Sueur

Watchmen (2009)

Watchmen
UK/USA/Canada 2009
Director: Zack Snyder

With Patrick Wilson, Jackie Earle Haley, Malin Akerman

IMDb Link

For some films it’s hard to remain objective, a detached observer able to critique and analyse with an open mind. In this case, the Watchmen graphic novel made such a terrific impact on me as a teenager that there’s no way I could write an objective review of the film. Though completely separate entities, my enjoyment of the comic does colour my experience of the film which, primarily, strives to be as accurate an adaptation as possible, given the various limitations of film in comparison to comics.

Director Snyder was in a tough position making Watchmen. Would he truly adapt the graphic novel, cutting and editing a decidedly epic story that spans nearly six decades into a trim, cohesive and thought-provoking film or would he choose to follow the route previously set by 300 and make a near carbon copy of the comic, perhaps sacrificing a smoother-flowing film narrative for a more faithful translation? In the theatrical cut of the film, it’s clear he tried to do both, to varying success.

The major sequences from the comic are expertly represented, with matching composition and colours helping to create a seamless transition between page and screen. The characters are mostly how I imagined them and the world depicted is a familiar one from the comic. The problem lies with the fact that most viewers of the film won’t have read the comic and won’t be familiar with the world or characters of Watchmen. Snyder does a good job of quick exposition, not slowing the film down with a long history lesson, but there’s still a lot of nuance lost (not surprising considering the depth and complexity of the comic).

Where Watchmen stumbles a bit is in the action sequences. While entertaining and technically well executed, the fight scenes are slightly over-the-top, more akin to The Matrix or V for Vendetta. In fact, some of the film’s visuals are too slick, too glossy. A more realistic approach would’ve helped to ground the film further, creating a truly believable world and characters.

Ultimately, this film was made for the fans of the comic. For those not familiar with the world of Watchmen prior to seeing the film, Watchmen is an exciting, intelligent, dark comic adaptation filled with complex characters and moral ambiguity. For the full effect, however, you need to read the Watchmen comic and immerse yourself in the world created by Alan Moore and Dave Gibbons. Zack Snyder’s version of the world is good, but Moore’s is better.

Colin Le Sueur

All the Boys Love Mandy Lane (2006)

All the Boys Love Mandy Lane
USA 2006
Director: Jonathan Levine

With Amber Heard, Anson Mount, Michael Welch

IMDb Link

I have to admit, slasher films are a bit of a guilty pleasure for me. Watching horror films as a teen, slashers always seemed to provide the right mix of gore, sex and shocks my still-developing mind craved. When I began to study films, I felt secretly justified to discover how surprisingly complex the slasher film can be. When it comes to slasher films, even the worst of the worst have some interesting psychological quirk that usually make viewings bearable. Thankfully, there are still excellent slasher films being made these days and even some that manage to do something new.

Although this film is clearly in the slasher genre, All the Boys Love Mandy Lane never feels like a typical slasher film. The structure and pacing fits the established pattern but director Levine manages to keep things feeling fresh with interesting visuals and a terrific soundtrack. The look of this film is polished but not over-produced (a hard balance to find) and there’s enough good gore to please the genre fans without becoming gratuitous.

Amber Heard plays the title role fairly well with a good mix of girl-next-door and object of desire. The others do a decent job, with no-one particularly bad or good. As supporting characters they serve their roles well, increasing tension and threat as they’re systematically killed off around the main character.

This film helps to bring a little spark back to the fading slasher genre, a new take on an old story. Though not as revolutionary as some believe, All the Boys Love Mandy Lane is entertaining, scary and sexy and makes me love the slasher genre even more.

Colin Le Sueur

Tags: slasher

[Rec] (2007)

[Rec]
Spain 2007
Director: Jaume Balagueró, Paco Plaza

With Manuela Velasco, Ferran Terraza, Jorge Serrano
Language: Spanish

IMDb Link

Even though The Blair Witch Project was released almost ten years ago, we’ve yet to see many films try to emulate the low-budget, point-of-view filmmaking techniques seen in the successful horror film. Recently, however, several high-profile films have attempted to contain their action to (ostensibly) a single camera and POV perspective; two of these films were moderate Hollywood successes (Cloverfield and Diary of the Dead) and the third is a terrific and frightening little Spanish film called [Rec].

Whereas the two Hollywood films attempted to expand the scope of their action (the whole of New York City in Cloverfield and across Pennsylvania in Diary of the Dead), the directors of [Rec] make the smart move of containing the majority of the film to one setting, an apartment complex in Barcelona. Not only does this help to reduce production costs, a constant setting helps to both create familiarity and break that familiarity, greatly increasing the potential for shock and horror. Nothing elicits more terror than an aggressive element crashing in on a previously safe place.

I can’t help but compare this film to George Romero’s recent zombie POV effort, Diary of the Dead. Both concern similar outbreaks and both are depicted primarily through POV camerawork. [Rec], however, is both more entertaining and captivating and, importantly, a much scarier film. The frenetic pace and tension in this film is incredible; once the action starts, it doesn’t let up until the end credits. When discussing the use of POV in both films, the rationale for the technique in [Rec] (that a TV camera crew is following firemen through a typical night and they get involved in a mysterious outbreak) is more believable and realistic than that in Diary of the Dead (a driven film student seeks fame and glory through documenting a zombie attack). The POV in Diary feels like a gimmick, whereas it feels natural in [Rec].

Perhaps unsurprisingly, this film has already been remade in Hollywood as Quarantine. After viewing [Rec], I keep thinking that this is the film Romero should have made: a fast, grim, unrelenting zombie film. [Rec] is easily one of the most impressive and frightening horror films I’ve seen for a long time.

Colin Le Sueur