Talking Movies

October 2, 2015

9 Days of 90s Horror

Hallowe’en comes to the Lighthouse with 9 days of 90s horror films from 23rd to 31st October culminating in a Scream-themed party before a screening of the late Wes Craven’s third reinvention of horror cinema.

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While the IFI’s Horrorthon unleashes a slew of new genre entries, the Lighthouse will hark back to the 1990s; the origin of the ‘ironic slasher’ sub-genre which was murdered by torture porn, and found-footage, which, like many a horror bogeyman, just won’t die. In association with the Bram Stoker Festival the 90s Vampire strand brings Francis Ford Coppola’s 1992 adaptation of Stoker’s text back to the big screen, placing it beside other 90s vampire movies Blade, From Dusk Till Dawn, and the original iteration of Buffy the Vampire Slayer. The most important film being screened, however, is Scream. Wes Craven redirected the current of horror cinema three times: Last House on the Left, A Nightmare on Elm Street, and Scream. Teamed with razor-sharp screenwriter Kevin Williamson he delivered a totemic movie well worthy of a Scream-themed Hallowe’en night costume party.

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FROM DUSK ‘TILL DAWN

Friday 23rd October 10:30pm

Quentin Tarantino and Robert Rodriguez’s first blood-soaked collaboration is presented in a digital restoration; that won’t make QT happy… A grimy, violent B-movie about a seedy Mexican bar that happens to be crawling with vampires this had its origins in VFX guys wanting a showcase script for their handiwork. So, after some quintessentially Tarantinoesque build-up, with fugitives George Clooney and Tarantino trading taunts and riffs with their hostages Harvey Keitel and Juliette Lewis, Rodriguez’s aesthetic takes over: Salma Hayek and energetic mayhem.

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BLADE I & II – (Double Bill)

Saturday 24th October 9:00pm

Never let a high concept get in the way of a good double bill! Guillermo Del Toro’s 2002 sequel sees humans and vampires form an uneasy alliance to defeat the mutated vampires known as ‘Reapers’, who threaten to infect and/or eat everyone. But first we have to see Wesley Snipes’ vampire superhero take down Stephen Dorff, with some help from Kris Kristofferson, in the 1998 debut of the ‘Daywalker’. All together now: “Some motherf****** are always trying to ice-skate uphill.”

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BUFFY THE VAMPIRE SLAYER

Sunday 25th October 10:30pm

Nothing bad is ever Joss Whedon’s fault. That trope began here. His script for this 1992 teen comedy was apparently neutered in production, leading Whedon to dream it all up again for TV; where, even as show-runner, season 4 was also somehow not his fault. Buffy’s cinematic origin story isn’t a patch on the TV development, and, while Donald Sutherland’s Watcher and Rutger Hauer’s Master Vampire add class to proceedings, this is more interesting as a time capsule (Look! It’s Luke Perry!).

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BRAM STOKER’S DRACULA

Monday 26th October 3:30pm

Director Francis Ford Coppola’s screenplay differs wildly from Stoker’s book. Coppola fixated on a ‘true love never dies’ doppelganger love story between Gary Oldman’s Count and Winona Ryder’s Mina Murray, that shaped Jonathan Rhys-Meyers’ recent steam-punk TV adaptation. Cast adrift amidst outré sets that bellow their obvious artifice, Anthony Hopkins as Van Helsing and Keanu Reeves as Jonathan Harker try to ground things, but the best verdict remains Winona Ryder’s acidic “I deserved an Oscar for the job I did promoting that movie…”

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SILENCE OF THE LAMBS – (Cinema Book Club)

Tuesday 27th October 8.00pm

The Halloween edition of the Lighthouse’s Cinema Book Club is Jonathan Demme’s film of Thomas Harris’ best-selling chiller. Harris’ universe has been thoroughly mined, most recently in Bryan Fuller’s hallucinatory series Hannibal, but this 1991 Oscar-winner was the breakthrough adaptation. Jodie Foster’s FBI rookie Clarice Starling and Anthony Hopkins’ imprisoned cannibal Hannibal Lecter are indelible performances. It’s become fashionable to disparage this in favour of Manhunter, but there’s a reason few people ever saw Brian Cox as Hannibal Lecter…

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THE BLAIR WITCH PROJECT

Wednesday 28th October 8.30pm

The greatest horror producer of the 21st century Jason Blum passed on this at Sundance, and has been kicking himself ever since. Some people at early screenings in 1999 thought that this was real; giving its unnerving ending enough power to create a buzz that made it a sensation. It wasn’t real. It was, however, the moment where found-footage horror stomped into the multiplex and declared it would never leave, all because of an unsettling walk in the woods in Burkettsville, Maryland.

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WES CRAVEN’S NEW NIGHTMARE

Thursday 29th October 8.30pm

Wes Craven wrote and directed this late meta-instalment in the franchise he had kicked off with his original vision of Freddy Kreuger. Heather Langenkamp, Nancy in 1984’s Nightmare on Elm Street, plays herself; plagued by dreams of a Freddy Kreuger far darker than the one portrayed by her good friend Robert Englund. Featuring cameos from several of the original cast and crew Craven produces a postmodern musing on what happens when artists create fictions that take on a life of their own.

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CANDYMAN

Friday 30th October 8.30pm

Bernard Rose’s cult classic, an adaptation of genre legend Clive Barker’s The Forbidden, follows a thesis student who is researching urban legends. Unfortunately for him he discovers the terrifying world of ‘Candyman’, the ghost of a murdered artist who is summoned by anyone foolish to say his name out loud into a mirror five times. Masterfully made, still absolutely terrifying, and the reason we all cheer whenever Tony Todd makes a cameo ever since, this also features the unlikely bonus of a Philip Glass score.

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HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS

Saturday 31st October 3.00pm

A token film for the kids is 1992’s Hocus Pocus. Why the misfiring hi-jinks of Bette Midler, Sarah Jessica Parker, and Kathy Najimy’s trio of Salem witches is perennially on TV is a mystery, but to present it as the essential kids’ Hallowe’en film is an enigma wrapped inside a riddle. Especially when Nicolas Roeg’s film of Roald Dahl’s The Witches, starring a scary Anjelica Huston as the Grand High Witch, dates from 1990…

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SCREAM I & II – (Double Bill & Party)

Saturday 31st October 9.30pm.

Neve Campbell confidently carries this 1996 classic, a blackly hilarious self-aware dissection of slasher clichés which is also a brilliant slasher filled with tense sequences. Williamson’s delicious dialogue (“Movies don’t create psychos, they just make psychos more creative…”) is brought to memorable life by an ensemble on truly top form, with star-making turns from Jamie Kennedy, David Arquette, Rose McGowan, and Skeet Ulrich. 1997’s sequel isn’t quite as good, but Kevin Williamson’s dialogue remains a joy, there are some nail-biting moments, it’s as subversively self-aware as 22 Jump Street of its sequel status, and uses Timothy Olyphant, Sarah Michelle Gellar, Jerry O’Connell, and David Warner to great effect.

‘9 Days of 90s horror’ ends with a Scream-themed Hallowe’en party preceding the Scream double bill, beginning at 8pm. Dress as your favourite 90s horror icon and enjoy the ironically-named cocktails, soundtrack of 90s hits, and general japery all related to Wes Craven’s classic slasher.

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TICKETS FOR 90S VAMPIRE FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8323

 

TICKETS FOR 90S HORROR FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8455

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August 21, 2013

The Mortal Instruments

Love/Hate star Robert Sheehan gets his chance to shine in the new Twilight, which wastes no time in skipping to that franchise’s most farcical elements.

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Absurdly named heroine Clary Fray (Lily Collins) turns 18 in a Brooklyn apparently inhabited entirely by British and Irish immigrants. Trading an awful poetry reading for a nightclub jaunt with best friend (who wishes he was more) Simon (Robert Sheehan), Clary finds herself the witness to a seemingly mystical murder by Jace (Jamie Campbell Bower) and Isabelle (Jemima West). The next day her mother Jocelyn (Lena Headey) is kidnapped by Pangborn (Kevin Durand), who then tortures Clary’s father figure Luke (Aidan Turner) for Jocelyn’s secret; exposing Luke as a werewolf. Jace saves Clary’s life, initiating her into the Shadowhunters – an ancient society of warriors against demons led in Brooklyn by recluse Hodge (Jared Harris). The society is fading away because renegade member Valentine (Jonathan Rhys-Meyers) stole their creation matrix, before Jocelyn stole it from him; only Clary knows how but her memories are magically blocked…

The Mortal Instruments is great fun for its first act. It almost feels like Kaboom director Gregg Araki at his most playful let loose on a Stephenie Meyer story treatment adding very tart jokes and acidic gay characters like Shadowhunter Alec (Kevin Zegers) and warlock Magnus Bane (Godfrey Gao) to shake up the Mormon moralising. And then suddenly the movie loses its knowing outrageousness and becomes instead a case study of Damon Lindelof’s concept of ‘story gravity’. The stakes have to be raised so high that the film burns thru plot points in an hour that took it the original Star Wars three movies to deliver, and even has characters chiding each other for not recognising that story gravity requires a terrible ‘secret’ to be revealed. This film doesn’t earn Star Wars’ surprises, or an outrageous appropriation of The Matrix.

After rendering JS Bach’s The Well-Tempered Clavier a demon-hunting weapon everything descends into a ludicrousness that left the target audience of teenage girls in fits of hysterics during ‘emotional’ scenes, groaning at a ‘revelation’ involving a family insignia, and cringing at a closing insistence on criminally unsuitable romantic tropes. This is not the fault of the actors mind. Collins is an adequate sub-Nina Dobrev, and Jamie Campbell Bower delivers his zingers without distracting us from how really really good-looking he is. The great Durand is underused, but, despite a cockney accent, smuggles in some Donald Sutherland touches, and acts opposite Robert Maillet; who’s even taller! Headey meanwhile shows Rhys-Meyers how to have the presence to appear for just 10 minutes but make an impact. Director Harald Zwart includes pleasingly visceral horror, but he’s ultimately defeated by the wildly uneven screenplay.

I don’t really want to see more instalments of The Mortal Instruments but it’s frankly impossible to guess what Cassandra Clare fans will forgive.

2.5/5

April 23, 2012

Albert Nobbs

Glenn Close realises a lifetime’s ambition and finally turns her one-woman off-Broadway show based on George Moore’s novella into a feature film.

Close plays Albert Nobbs, a conscientious but taciturn waiter at the Morrison Hotel in Dublin in the year, well, oddly it’s never really specified, just sometime after 1898. Albert’s great secret is that he is really a woman. This is the moment at which suspension of disbelief needs a crane because the make-up job just makes Close look a bit odd, not like a man. The accent is a cannier choice, a soft London accent that doesn’t draw attention to the lightness of its timbre. But if ever a film was based around a make-up job it’s this movie, and the over-worked crane for suspending disbelief quite simply buckles early on when there is a shocking revelation that another male character is also a woman in disguise; a shock that is only if you haven’t immediately thought on seeing the character that it’s a woman.

John Banville co-wrote the script with Close and Gabriella Prekop and perhaps that’s the reason for the lack of driving plot. Nobbs is encouraged by her confidante Janet McTeer, who has set up house with Bronagh Gallagher, to use her substantial savings to open her own tobacconist’s shop. At this point Nobbs begins to think of enticing fellow Morrison servant Helen Dawes (Mia Wasikowska) to join her in the enterprise, oblivious to the fact that Helen is only walking out with her to scrounge money for the fare to America. That plan is the brainchild of roguish Joe (Aaron Johnson), who via some delightful percussive maintenance on the Morrison’s misbehaving boiler has insinuated himself into the staff and then between Helen’s sheets. If that sounds half-interesting beware, this film’s deadly dull and never resolves the contradiction between its Shakespearean-obvious cross-dressing and its otherwise realistic universe.

Director Rodrigo Garcia coaxes good performances from his cast but McTeer, Johnson and Wasikowska come undone by virtue of their ropey accents far too frequently; even though McTeer outshines Close by virtue of having a more assertive character. I don’t know why Jonathan Rhys-Meyers is in the film as a debauched Wildean lord, except to pinpoint the class-based moral hypocrisy of Pauline Collins’ hotel owner, but such lack of purpose or context is everywhere. Are McTeer and Gallagher a lesbian couple or not? Does Nobbs think Helen will live with her as a companion or as a lover? These vital questions are never clearly answered until it’s far too late. Even more baffling is the politically de-contextualised Dublin setting. Why not just set it in London and eliminate the ropey accents, if not the unbelievable cross-dressing disguises?

If you really want to see Close on great form in a late career sparkler I suggest you look at a DVD box-set of Damages.

2/5

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