Jason X (2001)

Jason X
USA 2001
Director: James Isaac

With Kane Hodder, Lexa Doig, Peter Mensah

IMDb Link

There seems to be an unwritten rule in horror cinema: when all else fails, set it in space. Dracula, Hellraiser, Leprechaun: just a few examples of horror franchises that ended up with a sci-fi setting. While this decision works occasionally (though I can’t seem to recall any at the moment), the gambit usually fails horribly. Jason X is no exception.

This movie is essentially a bad Alien clone with Jason thrown in. The dialogue tries to be funny but comes off as self-parody. The acting is laughable, even for a Friday the 13th movie. In fact, the whole thing comes off as a bad idea. I remember MadTV doing a skit about ten years ago spoofing Friday the 13th and Apollo 13 called Apollo the 13th: Jason Takes NASA (and that 5 minute skit was more entertaining than all of Jason X).

There are a few bright spots, however. David Cronenberg makes a surprise appearance at the beginning, playing a scientist looking to turn Jason into a living weapon. As well, Jason’s look in this film is quite interesting (his standard look, not the Uber-Jason debacle). This is Kane Hodder’s final appearance as Jason and goes out in style, with an intimidating presence and streamlined design.

Thankfully, Jason X seems to have been ignored by Freddy Vs. Jason (a far superior and more entertaining film). In time, this movie will eventually be forgotten, a dismissed footnote in genre cinema, much like Halloween III: Season of the Witch or Highlander 2: The Quickening.

Jason X had potential: if approached more seriously, with a darker tone and more original script, Jason in space could’ve been clever and interesting. As it stands, however, this movie is clichéd and annoying, a disappointment for Friday the 13th fans.

Colin Le Sueur

Switchblade Romance (2003)

Switchblade Romance (aka Haute tension)
France 2003
Director: Alexandre Aja

With Cécile De France, Maïwenn Le Besco, Philippe Nahon
Language: French

IMDb Link

Who knew a French director could create such a superb slasher film, a genre almost exclusively American? This film, while heavily influenced by the other slashers, avoids most of the major clichés and cuts right to the bone.

Tension is created through the interesting use of white noise and static during confrontational sequences. This noise, enhanced by the soundtrack, generates a growing level of anticipation in the audience that mirrors the protagonist’s anxiety.

This film isn’t just tension and atmosphere, however. Director Aja isn’t afraid to lay on the blood; there are several very bloody sequences that will undoubtedly please the gorehounds out there.

While there are a few (large) plot inconsistencies, these can be ignored in typical horror film fashion. What’s most important here is the build-up of tension and its almost orgiastic release in violence. If you haven’t got a taste for gore and a stomach for violence, this is not a film you want to see.

Ten years from now this film will be critiqued and analysed in the same breath as Psycho, Halloween and Dressed to Kill. There’s enough subtext and depth here for a very interesting psychoanalytic review, much like the previous films mentioned.

This little French film, along with several others from around the world, for instance, represents a small-yet-growing “slasher new wave,” a re-vitalisation of a genre now over forty years old.

The only unfortunate thing about this film is the high probability of an American remake, three or four years down the road.

While not perfect, this film is certainly worth viewing (if you’re a fan of the genre) and marks the debut of a new talent in the slasher genre, director Alexandre Aja.

Colin Le Sueur

M (1931)

M
Germany 1931
Director: Fritz Lang

With Peter Lorre, Ellen Widmann, Otto Wernicke
Language: German

IMDb Link

In some ways, it’s hard to believe this film was made 75 years ago. Many of the themes and conflicts in the film are as relevant and important today as they were at the time of production.

M is a sober, deliberate, and chilling look at a child killer and society’s reaction to his crimes. The real strength of the film, aside from Lang’s restrained style, is the stunning performance of Peter Lorre. At once sickening, frightening, and pitiful, Lorre’s portayal of murderer Hans Beckert is one of his most memorable in a long career of outstanding character work. It’s no surprise Lorre went on to re-surface again and again in similarly sleazy roles, though perhaps none so effective as in this film.

Though M was one of his first sound films, director Fritz Lang essentially delivers a silent film, with long stretches in the film having no sound whatsoever. The silences are very noticeable and, looking back through nearly 80 years of sound cinema, a little distracting.

The real strength of this film is its ability to create sympathy and pathos for such a despicable character, thanks to the technical skill of Fritz Lang and the compelling performance of Peter Lorre. M reminds us, even 75 years later, that everyone in society deserves dignity and respect, whether a murdered child or a deranged killer.

Colin Le Sueur

Oldboy (2003)

Oldboy
South Korea 2003
Director: Chan-wook Park

With Min-sik Choi, Ji-tae Yu, Hye-jeong Kang
Language: Korean

IMDb Link

During the past ten years, something interesting’s been happening in Asian films, particularly in the cult cinemas of Hong Kong, Japan and Korea. This ‘New Wave of Asian Cult Cinema’ represents some of the most interesting and innovative films in recent memory.

Oldboy mixes the violence and extreme morality of Miike with the thoughtfulness and tragedy of Kitano, creating a disturbing and contemplative mystery thriller, ultimately fascinating. Director Park has crafted an excellent example of modern filmmaking. The editing is sharp and clever, seamlessly blending both old and new techniques.

The fight sequences are some of the most believable since Fight Club, with nasty wet sound effects and realistic movements. Park also chooses to imply most of the nastiest violence, often with a wink and a nod. Unlike the films of Takashi Miike, for instance, the most disturbing moments are created in the viewer’s own mind.

The acting is excellent, with Min-sik Choi’s performance a standout. He is at once grim and menacing, yet endearing and pathetic. Physically, his performance is also outstanding. Choi seems like a totally different character at the beginning of the film; he’s almost unrecognisable later.

The plot of the film seems simple, almost deceptively so. There’s much more to the story than the posters convey. Oldboy is a mystery, a thriller, a comedy, a love story, a revenge fantasy and a tragedy. An easy way to describe it is ‘a Korean action film,’ but that would be like calling Ichi the Killer ‘a Japanese action film.’

See Oldboy expecting one thing and come away surprised; isn’t that what the best films do?

Colin Le Sueur