MovieGhoul-Undead Movie Blog

Back from Hiatus: And I Wish I Could Say I Slept Like the Dead

2010-02-16T15:13:00.000-08:00

Well, it has been a long time hasn't it? Rather than give everyone a list of inexcusable excuses for not attending to MovieGhoul for about three or four months, I think it would apt to get right to the point and provide a comprehensible recap of what has been going on in the world of cinema:

1-Avatar: After this puppy was unleashed in theaters in December, director James Cameron proved once again to the world that he was king of the world---spreading a fervent wildfire of Blue Fever across the globe (with most of the gross income stemming from foreign profit in theaters of Europe overseas, though Americans caught on to the Pandoran fetish rather quickly). After personally viewing the film for myself, I could not help but observe that it was indeed visually stunning, if not an hour too long. The capacity of computer technology these days can be simply breathtaking, and Cameron did change the outlook of this frontier, but only in terms of visual apparition and not so much for plot substance. However, I did stumble out of the theater in a daze---a good daze, one that lingered not long after the credits rolled nonetheless.

2-The Oscars: Look everybody! The Oscars are hip too! Because now they have ten nominees for the prestigious best picture award instead of five! "Please watch us this year!" it seems that they are pleading. Because now the Academy can include widespread fan favorites such as "Up" and "Inglorious Basterds," great for attracting previously uninterested viewers but not necessarily outstanding for the indie film junkie. Mainstream as it may seem, this recognition is well deserved---if not a little too late for 2008's 'Iron Man' or the tumultuous 'Dark Knight.'

...and otherwise, there honestly has not been that much going on in the world of cinema. George Clooney landed a hit with 'Up in the Air,' yet to be viewed here, as well as in "The Fantastic Mr. Fox" and the almost universally panned "Men Who Stare at Goats." Jeff Bridges---always "The Dude" in my book---played a spectacular role in "Crazy Heart" as I've heard. 'Avatar' has been pretty much eclipsing everything out there, directed by the guy who opened his Golden Globe acceptance speech: "Let's make this fast, I gotta pee somethin' fierce," but also the guy who graced the world with Aliens and the first two riveting Terminator films.

And you ask why I haven't written in close to four months? 'Avatar' writes about itself. Everybody around wants to, needs to be on Pandora, while films on planet Earth cannot help but gape in awe with the rest of the benchwarmers. The world needs 'Avatar' right about now to escape from an economy on the downturn, a war that rages overseas (though 'Avatar' has its fair share of belligerence, contrasting with the peaceful nature of the thin and blue Na'vi), especially to escape to a tropical, majestic jungle while the weather outside is frightful. As opposed to a film like 'The Hurt Locker'---a harsh, gritty standpoint of human irrationality on the battlefield---'Avatar' decorates modern, contemporary issues of controversy with metaphors of the fantastical.

And 'Star Wars' did that, in a way---as most cultural theologists would argue. You can't deny it; the comparison is inevitable.

What's Next Out of the Grave...

2009-11-21T14:11:00.001-08:00

Finally! Some time to blog...Currently the MovieGhoul is juggling projects and in the middle of writing multiple posts before publishing. Expect a barrage of new material some time in the near future. As for now, here's a taste of what's to come...

New Sherlock Holmes film by Guy Ritchie. Holmes the Action Hero!

James Cameron's 'Avatar'-Planet of the blue smurfs meets Pocahantas meets Aliens. Umm...Looks pretty?

'Pirate Radio'-Looks a little appealing, but the critics did not like very much. Anyone seen it?

There is a lot coming out. It’s just…will any of it be good? There’s ‘Prince of Persia’, Disney’s next ‘Pirates of the Caribbean’ attempt, ‘Green Zone’ with Matt Damon and directed by Paul Greengrass, Mel Gibson going crazy in a movie called ‘Edge of Darkness,’ George Clooney is a fox and an emotionless airline passenger this film season, and no, I didn’t hear about the Morgans.

>phew<

MovieGhoul Feature: What Makes a Thrilling Chiller?

2009-11-02T20:13:00.001-08:00

What is it about the chilly isolated atmosphere of Stanley Kubrick’s ‘The Shining’ or the tantalizing schemes of a killer in films like ‘Zodiac’ or ‘Psycho’ that keeps the audience coming back for more? Is it the violence? Is it the sense of helplessness radiated by the characters and their predicaments? Could it be the soundtrack of the film reaching a horrifyingly spontaneous crescendo? Is it time to stop proposing rhetorical questions?

Yes it is, in fact. It’s an amalgamation of all these things---factors that snowball into prime examples of cinematic art. For is it not the thriller that keeps the audience in the mindset of the film, in the demented mental landscape of the psychopathic killer or the slowly deteriorating psyche of the main character? Thrilling films keep the audience engaged and primed for suspense, as opposed to comedic light-hearted films that have short laughs and are somewhat devoid of thought (not that they lack substance, these films are good for other things). Some films can try to thrill---possibly ‘Eagle Eye’ or the disastrous remake of ‘The Day the Earth Stood Still’---and yet they adhere to the modern sense of the word’s definition, which is definitely altered from that of subtle, introspective engagement that inhibits original plot.

But what makes a chilling thriller, beyond the explosive chase scenes and relentless gore fests? Perhaps films that stray from conventional thought and break away from recycling of formulaic plot structure like the countless remakes stagnating among today’s box office hit-or-miss mentality.

Jack Nicholson’s father figure in ‘The Shining’ gradually transitions from a parental role model into the silhouette of a murderous nightmare creeping around the corridor. Stanley Kubrick captures this degradation effectively with several things, namely atmosphere---i.e. the aforementioned isolated environment that ripens the mind for psychopathic duality--- and expressionism that becomes sufficiently exhibited by the actor. At this point the audience feels a strange, adverse attraction to the character and his tumultuous psychopathic journey as he wanders aimlessly through the hallways of the hotel that personifies his complacently vacant state of mind.

Notice the high strings and accentuated movements at the start of the scene, followed by conspicuous silence as Nicholson holds an untimely conversation with his unstable conscience.

Films like ‘The Shining’ succeed in keeping the audience sympathized with the trappings of its plot and the implications of insanity, proposing the questions-“Is this what it’s like to be insane?” and “Wouldn’t that be freaky to truly experience this, whether as the victim or the antagonist (whom, I guess you may imply, is also a victim of sorts)?”

On the other hand, ‘Psycho’ (1960) is innovative in terms of cinematography. Hitchcock, infamously known as the “Master of Suspense” (perhaps more aptly described as the advantageous and cinematic “Lord of Subtlety”), utilizes the camera to indirectly exhibit character emotion. By inducing every little nuance of everyday routine, he can twist awkward silence or ambient background noise into the soundtrack of your hypothetical doom: a feat best attained in his infamous shower sequence.

Interestingly, the dated effects can make the scene feel somewhat comedic---though the contemporary audience should pick up on the intended effect. The key element here is soundtrack: even today people still utilize this theme to embody something they perceive as spontaneously scary or sarcastically obscene. Whether or not the character was actually being stabbed (a testament to the advancement of visual effects at that time) is something for another post. Remember, at another cultural time and place, this stuff was considered pretty scary!

One memorable resonance from last summer’s cinematic orgasm that was Christopher Nolan’s ‘The Dark Knight’ remains to be the Joker’s theatrical entrance onto the dimly lit production stage and his confrontation with Gotham’s miscellaneous assortment of thugs. Watch again, if you must…or if you’ve been living in a cavern for the last few years…

As a result of modern technology and methods of filmmaking, directors and the people they orchestrate can easily achieve the means to establish the ideal atmosphere for the intended tone of any scene. The popular mentality nowadays for the ideal screenplay writer is summarily “What makes my script a good, high budget explosion of euphoria that will reel in the broadest demographic of audience?'” Instead of making an elaborate entrance, Heath Ledger’s Joker walks jovially into the fray and turns a simple impromptu “magic trick” into a perfect cinematic moment. The screenplay mechanically reads: THE PENCIL is gone. JOKER bows.

Simplicity is crucially effective here. Ledger sufficiently captures this and transfers it onscreen to relay simplicity into one of the most enjoyable moments in film. On top of this, steady close-ups of the Joker’s face forces the audience to scrutinize his anarchical complexion and his unpredictable tendencies within subtle expression: the perfect method to convey a persona of a character without a (dental) plan.

These elements conglomerate into the ideal thriller, the genre that entices audiences and filmmakers alike to revisit the pathos of a sadistic antagonist---or even protagonist, depending on how you look at it. The thriller will never stop persisting to chill the engaged viewer into theoretical reflection by movie’s end: an effect arguably better achieved via sheer subtlety. Without the thriller, films would probably not be taken very seriously---because the thriller has the potential to be a psychological evaluation, a violation of mental bounds, an ambitious upheaval of conventional filmmaking.

Bits o’ Brains: Films With Thrills and Chills

2009-10-24T10:14:00.001-07:00

With the guise of Halloween lurking around the corner, it would seem that the time would be appropriate to feature short, deliberate reviews of films that effectively instill thrills and chills in the spirit of the season.

‘Sleepy Hollow’ (1999)

Heads will roll. Tim Burton's interpretation of John Irving's 'Legend of Sleepy Hollow' is not only gothic and stylish but also quippy and wittily written. The violence is not exuberant but instead well-deserved and at times quite comedic with a dark sense of atmosphere. Perhaps one area of improvement that Burton could have fleshed out was the troubling past of Ichabod Crane and his murderous father. Otherwise, 'Sleepy Hollow' is a fantastical piece of haunting escapism that elaborates on the gruesome folktale of the Headless Horseman with a bewitching twist.

‘Sleepy Hollow’-1/2

‘Silence of the Lambs’ (1991)

Exceptionally psychotic and sinfully intriguing, Silence of the Lambs exhibits the intense acting talents of Anthony Hopkins and Jodie Foster in a film that attests to the existence of insatiable stalkers and nightmares. This movie is a fresh sigh of relief in contrast to modern day horror films that showcase gratuitous gore and empty suspense. Silence of the Lambs breaks the bounds of its genre, causing the viewer to question one's own sanity.

‘Silence of the Lambs’-

‘Zodiac’ (2007)

About as psychopathic as 'Silence of the Lambs', but you get that sinking feeling and your stomach does somersaults when you fit yourself into Jake Gylenhaal's predicaments, especially during the gut-wrenching basement scene. That in itself is the most enticing aspect of 'Zodiac': that the story was just as real, just as psychotic when it happened---and the film captures that time period perfectly. David Fincher (‘Fight Club’, ‘Panic Room’) does a marvelous job of keeping the film both character-driven and wrought with breathtaking suspense throughout. If you have not yet viewed 'Zodiac', it would be time well spent, though it may be an extended period of time due to its length, to get down and find some way to sit through this masterpiece.

‘Zodiac’-1/2

‘28 Days Later’ (2003)

'28 Days Later' redefines it's genre in both tone and concept, unique as a Zombie film and still does not stray from thematic element. You find yourself actually caring for the characters themselves instead of the scope of the infection and the science fiction plot, yet you can still manage to enjoy the jumps and thrills of a genuine horror film. The zombie genre takes a turn for the anarchic as ghouls start to be quick on their feet and rush the main characters in a fervent frenzy---heightening the thematic tension as a composer would build his finest crescendo, to elaborate with some slightly lighter imagery. Danny Boyle does a marvelous job with the eerie and the ideological. Don't hesitate to view this film.

‘28 Days Later’-1/2

‘Red Eye’ (2005)

Though ‘Red Eye’ maintains dramatic purpose, the film’s hectic pace seems almost comical. The performances of Cilian Murphy and Rachel McAdams are indeed top notch; however, the pathos behind the killer’s motivation had the potential to be more extensively fleshed out. By the film’s climax, I almost expected the soundtrack to burst into the euphoric hustle and bustle of ‘Yakety Sax,’ and the ending came in as one of the most ridiculously authored and abhorrently clichéd conclusions that a movie of its campy genre could have. Red Eye can’t satisfy, unless one is easily thrilled by mediocre plotlines or predictable character archetypes.

‘Red Eye’-

‘No Country for Old Men’ (2007)

Dark, twisted, and heavily thematic: 'No Country for Old Men' thrills on a demented level. Watching Javier Bardem blow out keyholes and heads with his lumbering oxygen tank across the countryside is definitely enough to make this film a psychotic thriller. While the conclusion is indeed somewhat open-ended, the Coen brothers successfully implement an unforgettable series of choreographic techniques that dare the average moviegoer to evaluate the boundaries of which this film left behind in tatters.
Genre-breaking and thematically interpretive. Give this film a try and see what you come away with.

‘No Country for Old Men’-1/2

‘The Sixth Sense’ (1999)

Purely Shyamalan at his best. A film that effectively balances character with psychological thrill to create the perfect blend of scares and cares. An excellent performance by Bruce Willis is reinforced with the chillingly genuine talent of Haley Joel Osment, an end result that left me looking over my shoulder for a good period of time. For those of you familiar with the show 'Robot Chicken', Shyamalan lives up to his catchphrase with the tumultuous plot of this film, an apt summation that is hopefully vague enough to keep the ending at its own discretion: "What a twist!"

‘The Sixth Sense’-

What are some thrillers and/or chillers that you have seen recently? Feel free to leave a comment below and let your undead groans be heard! Keep your eyes open for more ghoul-icious reviews and movie buzz before October wanes down to its final days.

MovieGhoul Trailer Spotlight-'Where the Wild Things Are'

2009-10-20T18:02:00.001-07:00

This is indeed a tad belated; though it feels that this film deserves some sort of recognition for releasing over the past week. Spike Jonze's rendition of Maurice Sendak's classic bestselling children's book 'Where the Wild Things Are' chronicles a young boy's childhood metaphorically reflected by the land of the Wild Things. Check out the trailer above.

'Citizen' Crashes and Splatters, Though Remains a Pedestrian

2009-10-17T08:22:00.000-07:00

In last year's notable, high-flying and menacing summer blockbuster 'The Dark Knight', Heath Ledger's notorious Joker sat calmly behind "Gordon's cage" as the rest of the world fell apart from his carefully planned and ironically anarchic orchestration of choas---a confliction of morals playing against the character's ideals that contributed significantly to the theatrical ingenuity of the film. Nolan, once again, did it right. He was able to give the Batman franchise justice by instilling a sense of intense realism into the tone of the films.

It is not strange that another film---one that tries but utterly fails to do the same---has a realistic setting, but cannot viably or purposefully attain a sense of direction.

In F. Gary Gray's 'Law Abiding Citizen,' Gerard Butler plays Clyde Shelton, a man who helplessly witnesses the murder of his wife and child and, we must note, conveniently happens to be an inventor with an off-screen influence. When the men responsible get off easy, Shelton desperately adopts the perception concerning judicial law as a broken manipulative system. Ten years later, Butler's character comes back with deadly experience and vengeance into the court room scene to try to bring down the system on top of his lawyer, played stoically by Jamie Foxx. The two characters dubiously face off on-screen, verbally sparring and physically lashing until the ending credits: Butler with his explosively disruptive gadgets and Foxx with his subtle, albeit determined, political nuances.

Let's get this out if the way: the film is not bad. But thematically, it simply does not delve much into character. Given that there is intense emotion and dedicated drive in Butler's character, his plotting was never captured on-screen and his explosive climaxes occurred much too fast and numerously to adhere to a sane ideal. His influence was never aptly described, though vaguely by one of his accomplices: "If Shelton wants you dead, you're dead." Fair enough.

Then there is Jamie Foxx, who is a fantastic actor in films such as 'Ray' and 'Collateral', yet cannot shed much emotion in this role as a lawyer. Perhaps that's a verification in itself: what emotions do lawyers have? Though a human should show human emotion: his friends are dying all around him and if my memory serves correctly he does not shed much of a tear in this film. Foxx is an apt professional, but it would have been somewhat intriguing to see how another actor would have played the part if not in the same manner.

'Law Abiding Citizen' has some great and carefully choreographed scenes, particularly one that oozes with dark humor and violent wit (if anyone knows the one involving a certain judge and a cell phone...). The plot, while ambiguous, takes its interesting twists and turns and F. Gary Gray certainly knows how to utilize a camera. The thematic purpose of the film, while jumbled, effectively questions the stances of 'good people' and 'bad people'. But 'Citizen' does not contribute much of anything to its judiciously vengeful genre. In this respect, the film is no 'Dark Knight', though it thematically tries to be.

Go into this film with low expectations, perhaps. You will certainly come out with more than you expected. Just try to avoid having to give an extensive explanation of the plot.

'Law Abiding Citizen'-

Thrills and Chills: 'Memento' (2001)

2009-10-15T20:17:00.000-07:00

It is interesting how 'Memento' plays extensively off of irony: How could a film trailing a forgetful protagonist pose as such an unforgettable venture for the audience? Only Christopher Nolan, even before his Caped Crusader extravaganzas, had the potential to attain this filmmaking feat.

'Memento' threads multiple plotlines into one coherent, yet insufferably conglomerated, case of troubled amnesia for Leonard Shelby (aptly played by Guy Pearce) who tirelessly hounds the men responsible for the death of his wife. Throughout his misadventures, Shelby recollects miscellaneous plot checkpoints by gradually stumbling upon self-inflicted clues or sifting through photographs with scrawled notes resembling scattered bread crumbs in a forest of potential leads. He chooses to reside in a beat-down hotel, which serves uncannily as a reflection of the character's unstable state of mind. The supporting characters utilize him, tempt him, anger him, and play sadistically off of his "condition" and radical emotions. By the film's conclusion, perceptions of these characters will fluctuate tempestuously as the tangled plot tree branches out to its twigs.

Nolan pulls off what countless other filmmakers like to pull off in movies such as these: some extent of perceptive and emotional manipulation---and he does it effectively. Nolan plays off of your pity with Carrie-Anne Moss's character---at first one will extend sympathies to her helpless predicament, but (without spoiling much, hopefully) after another revealing encounter with her, the observant mind will come away with respite for her malicious attitudes. In some way, Nolan tinkers with notions of prejudice and inferential supposition. One moment, a portrayal will be relative and low-key; while at the next, it would become erratic and suddenly psychotic. What is also crucial to this film's tone concerns the sequence of events by which Nolan chose to organize his plot. Interestingly, it thematically reflects the mental instability of Pearce's character as he stutters and retracts his perceptions, flashing inconsistently---yet ironically purposeful---through numerous chunks of his retrospective memory. That alteration of perception insidiously keeps the audience on its toes.

While 'Memento' is not the most chilling, it can be the most thrilling...and its definitely unforgettable.

'Memento' (2001)-1/2

Break for Brains: MovieGhoul Announces Thrills and Chills

2009-10-13T16:09:00.000-07:00

It surely has been a while since the MovieGhoul has last groaned, but that does not mean we have returned to the grave! When the appropriate time arrives, keep your eyes open for future reviews and posts on some of the following films:

'Insomnia' (2002)-Starring Al Pacino and Robin Williams in a thematic cop drama. Directed by Christopher Nolan.

'Red Eye' (2005)-Starring Rachel McAdams and Cilian Murphy in a dizzying whirlwind of a thriller. Directed by Wes Craven.

'Misery' (1990)-Starring James Caan and Kathy Bates in a harrowing tale of obsession and depression. Directed by Rob Reiner.

This is not a definite list of upcoming reviews, but they are films that have been viewed recently and adhere to a common theme. Feel free to leave comments below on these films or similar movies that follow the same genre of thrills and/or chills.

Stick around, we're not dead yet!

'Zombieland' is Fresh Flesh

2009-10-03T19:42:00.000-07:00

In retrospect, zombies have come a long way from shambling monstrosity to sprinting rabid devourer. Running zombies became the fad after ’28 Days Later.’ Zombie satire surfaced with the release of ‘Shaun of the Dead,’ while ghoulish action sequences were popularized by Zack Snyder’s hyperactive interpretation of ‘Dawn of the Dead’ in 2004. For more zombie analysis, see my post below on Ghoulish Cinema.

But what is ‘Zombieland’? Where does this new addition to ghoulish cinema fit in the uncanny spectrum of undead storytelling?

The answer is in several places. For one, ‘Zombieland’ is a complex narrative---at least in terms of character---that follows an ungainly protagonist played by Jesse Eisenburg as he traverses across the ravaged and infested countryside. Along the way, he encounters Tallahassee, played by Woody Harrelson: the man with no restraint for “zombie killin’” as long as it meant he would come out on top with a twinkie. The story progresses and more characters come into the fold, creating tense relationships and enough witty dialogue to go around. By the time the credits roll, it is hard not to reflect on where the last hour and twenty minutes went.

‘Zombieland’ successfully combines elements from ‘28 Days Later’ with ‘Shaun of the Dead,’ an accomplishment that makes for more than a decent film. Ruben Fleischer’s directorial debut may well propel him to some degree of stardom: it was surprising to read early positive reviews on a film that seemed to have the dressings of a contemporary comedic attempt. In this respect, ‘Zombieland’ is a pleasant---albeit gory---surprise. Even Zack Snyder gets his slow-mo in all its glory with elements from ‘Dawn of the Dead’ at this movie’s intro, narrated conspicuously by Eisenburg’s character with tips concerning survival in a world filled with rabid undead ghouls.

This film is an amalgam of many things. Like ‘Shaun of the Dead’ was a romantic comedy at its core, somewhere beneath the explosive gut-spattering ‘Zombieland’ was a story threaded with thematic purpose, i.e. the definition of familial bonds. While this purpose is indeed half-hearted, ‘Zombieland’s witty tone maintains the continuity of character while cracking some heads in the process.

And that’s why we love zombie films. Because they are the genre that can pull it off.

'Zombieland'-

Opening This Week: September 20th-26th (Surrogates find Fame in Hell...and...Pandorum?)

2009-09-26T12:06:00.000-07:00

Here's what is happening in theaters this week:

'Fame': A modern remake of an urban musical that appeals to the 'High School Musical' generation. Critics are recognizing the flaws of this film within the character development, which they claim seems choppy and somewhat unfulfilled.

'Surrogates'-A robotic thriller starring Bruce Willis and based upon a graphic novel: quite a trend in modern cinema next to computer animation. Directed by the fellow that brought the world 'Terminator 3: Rise of the Machines,' this film is being critiqued on its action sequences and hollow acting performances. Too short on suspense? Feel free to share your thoughts on this film if you have seen it this week.

'Pandorum'-A deep space horror film with Dennis Quaid and produced by the folks that delivered the 'Resident Evil' films. Not to judge prematurely, but this movie looks like a rehash of the same confusing plot twists and cheap thrills that those films consisted of.

'I Hope They Serve Beer in Hell'- The overall consensus: Critics hope they play this film at cinemas in hell.

MovieGhoul Trailer Spotlight-'The Men Who Stare At Goats'

2009-09-22T20:45:00.001-07:00

As if the stellar cast were not enough to hike up the appeal for this film (Kevin Spacey, Ewan McGregor, Jeff Bridges, and George Clooney), the satirical premise of this film looks fairly promising. It takes one quote to efficiently elaborate on this notion:

"We're Jedi. We don't fight with our guns. We fight with our minds."

'The Men Who Stare At Goats' hits theaters on November 6th. Check out the trailer above.

Coen Classics: Cold Blooded Murder and Satirical Prose in 'Fargo'

2009-09-20T09:44:00.000-07:00

In 2007's 'No Country for Old Men,' the Coen brothers established an elaborated plot involving a sadistic Javier Bardem tracking down Josh Brolin across the southern countryside. In 'Burn After Reading,' a comedic cluster of characters intertwine as a result of the misplacement of valuable CIA documentation. 'The Big Lebowski' portrays a comedic case of mistaken identity with the 'Dude.' And finally, in 1996's 'Fargo,' a man in Minnesota plots to stage a kidnapping for his wife so he can receive the ransom money from her rich father.

So what do all of these movies share in common? Of course, they are all touched with the same 'Coen Movie Magic.' But thematically, what is one thing that they all consist of?

When you watch a Coen brothers film, oftentimes you'll find that the two expert filmmakers like the realistic twist of deviously leaving a plotline unresolved. Not to spoil the ending of these movies, Coen endings are somewhat formulaic: a steadily growing climax topped with a conclusive reflection by one of the main characters. Those of you who have seen these three films, or any other Coen brothers film for that matter, think back to all those endings and try to give one example of a plotline that does not follow this curriculum. The meat of the story trails a plethora of sequential events, and then the narrative simply surveys them in one form or another. While this could be seen as repetitive, the Coen brothers manage to keep it fresh throughout each one of their projects with this same tone but applying it to very intriguing characters.

This definitely applies to 'Fargo.' Viewing 'Fargo' was a milestone in observance after subsequently seeing the other Coen films I listed above over the course of about a couple of years. What sets 'Fargo' apart was...well...it's setting: a snowy wilderness that the Coen brothers could most relate to. They seem to like vacated spaces in their films as well, and that also has a profound impact on the narrative tone in 'No Country for Old Men.' I would have to say that 'Fargo' fits snugly in the Coen brothers library of classics, transitioning their intricate and spontaneous narrative style to a loosely-based true story. The best thing about 'Fargo,' atop everything else, was the satirical touch that the characters' Alaskan drawl brought to the scenarios of the film (Alaskan drawls in Minnesota? I might be missing something). Everyone sounded like a disinterested Sarah Palin in the midst of a cop drama, spewing 'Yeah's and 'Oh's in every convenient nuance. Subtle, but satisfyingly comedic.

One other touch that the Coen brothers keep unique to their style is spontaneous violence. This makes their films dangerously unpredictable in plotline, leading up to a twist so that there is no indication of preceding action. In plain English, this is enthrallingly realistic and comedic at the same time. Underlying visual cues, no---or very little---soundtrack in tense situations. Who could predict that Peter Stormare would come charging at Steve Buscemi with a large axe at 'Fargo's climax? That is how pro the Coen brothers are in masking epic and radical plot developments.

All in all, 'Fargo' is the pinnacle of Coen Charm. Excellent dialogue capped with edgy performances by William H. Macy and Buscemi, emphasized with isolating wintery wilderness. 'Fargo' makes for an unadulterated 'Home Alone' sequel: the infamous Coen take on domestic mishaps. Some filmmakers build on expectation as an establishment for movie appeal. The Coen brothers have this appeal for the sheer unpredictability of their films. The question for other movies is always "What did I come away with?"

Alternatively, the question for Coen movies: "What didn't I know I would come away with?"

'Fargo'-1/2

A Dark and Original 'Sin'

2009-09-19T19:11:00.000-07:00

In the film 'Schindler's List,' Liam Neeson plays an upper-class factory owner that initially and unwillingly buys out the freedom for several Jewish refugees in Germany during World War II. What does this have to do with Frank Miller's 'Sin City,' you ask? In 'Schindler's List,' a small girl embodies Schindler's reluctant redemption as well as the fate of victims from the Holocaust later on in the plotline. The director sets her apart from the other Jews in the film by gracing her shoes with the only profound color, other than the default tone of black and white: red.

This same visual effect is implemented in the stylized violence of 'Sin City,' helmed sadistically by Robert Rodriguez, Frank Miller, and Quentin Tarantino: the Graphic Trio. This screened comic book follows the misadventures of several parallel characters in a town that is a good dozen times more rife with crime and corruption than Gotham City. Bruce Willis plays a cop with no regard for the rules---yes, it's that cliche---who saves a girl from being raped by a lowlife and later goes on a crusade to prove himself to...well...the world? By killing people? Essentially, that's what's going on in the other plot-lines with Mickey Rourke and Clive Owen as well, who square off against Elijah Wood and Benicio del Toro respectively. The film starts and progresses violently, and that could be an understatement. By the end of the film, you'll start to see things tie together nicely and conclude with a mildly surprising twist. Anything else revealed and the point of viewing the film would be wasted.

Not that there is much psychological method to sitting through this film in the first place. Besides having some very psychotic and intensified performances from Del Toro and Owen, 'Sin City' is best enjoyed by turning off your analytical brain and soaking in the elaborate visual effects and stylized innuendo. 'Sin City' is, at heart, a gothic noir fable that Frank Miller obviously had fun to write and film---because that is what he does best. To a lesser extent, consider his recent directorial project 'The Spirit' (though I would honestly rather not). Miller's expertise is the aforementioned genre, and when that crosses your mind during 'Sin City,' it actually is not that bad of a movie; obviously when being compared to something like 'The Spirit'. The story was coherent, the visuals were exuberant but enjoyable, the dialogue...well...the same cannot be said for the dialogue, and it should be left at that. The cinematography is deliciously satisfying to the eye and the violence, while comedic at times, ends up to be quite enthralling by film's end.

It's not a sin to not watch 'Sin City.' It's safe to say that if you have not seen it, you're still missing out. To some extent.

'Sin City'- 1/2

Zombies and Film: Why Ghoulish Cinema Works

2009-09-18T14:43:00.000-07:00

With the impending release of the graphically comedic 'Zombieland' in October, one should think that the time is right for a little reflection on how the undead make (at most times) good cinema. What is it about shambling hordes of brain-consuming creatures that brings us mortals to the movie theaters, at least when a zombie film releases? Is it the numerously creative ways to dispatch these horrid fiends in several scenarios? Is it the coy and camping sensation of surviving wave after wave of undead horror? Or is it watching main characters steadily being picked off one by one and predicting the last one standing?

If it weren't for zombies, some really great films would not exist.

Take 'Shaun of the Dead.' Great film. Dark humor with twists and satirical tones. But notice one of the catchphrases on either the DVD slipcase or the actual movie poster itself: "A romantic comedy...with zombies." Could it possibly be that any boring subject, any droll moment, can be supplemented with zombies to make it infinitely more interesting? That film proves it. 'Pride and Prejudice with Zombies' is another example, this time in the form of a bestselling novel: 'A classic that someone will finally want to read." Because of zombies.

Let's face it, zombies are fun because they are out of place in key genres, and that is why filmmakers and novelists utilize their presence. Nothing is more satirical than making up with your ex-boyfriend/girlfriend amidst a swarming horde of angry undead. Nothing brings out the underlying anarchic tones of human nature more than the brutality of the message carried out through the raging infected in '28 Days Later.' Some critics dismiss the use of zombies in films as excuses for petty violence, and in some ways that is the case. If you find yourself sitting through the glorious slow-mo gore in Zack Snyder's 2004 rendition of 'Dawn of the Dead', then you may find that to be the truth. However, there is emotion and there is purpose in the isolated confines of New York City during 'I Am Legend.' Will Smith had a great role in that film, and the book was even better in the way that it dealt with the psychotic tolls of being burdened with the address of 'Last Man on Earth'.

Some of you could say those bald things were zombies or vampires; honestly I have no idea what you want to classify them as, I think they might be a hybrid or something.

Anyways...

The irrationality of zombies, while they are indeed mindless, work for the integrity of the film's message if they serve a heavy purpose for the plot besides being dismembered here and there and everywhere (in slow-mo!).

It's hard to ignore the presence of zombies in today's pop culture. Thanks to Max Brooks' bestselling Zombie Guides and narratives, the undead can walk beyond the borders of the screen and into the imagination---if you want them there. The release of Valve's 'Left 4 Dead 2' allows for a cinematic experience while helping a friend take out a horde of infected. But movies combine the intense, purposeful narratives of novels with the visual fun of dismemberment you can get from a video game. What you get as a result has the potential to be a really good film.

In a way, there's George A. Romero to thank for his slew of zombie films. His projects make it evident that zombies have come a looooong way: from cheap and low-budget pulpy fiction to relatively gory, but hopefully motivated, violent narratives. While some think zombies are mindless ghouls in movies without brains, that's why MovieGhoul is here. To prove them wrong. To prove that zombie cinema can still be good cinema. And to prove that zombies can analyze film too.

So there. Time for some more movies...

Opening This Week: September 14th-18th (Cloudy With a Chance of Informant Love)

2009-09-17T21:29:00.000-07:00

Here's some of the latest in theaters this week:

'Jennifer's Body': Despite the fact that this film was written by academy award-winning story writer Diablo Codie ('Juno'), Megan Fox stars in what critics are claiming to be a film that tries but miserably fails to be either funny or scary.

'The Informant!': Matt Damon plays a conspicuous inside agent within a corporate operation that charismatically satirizes degrees of authority. From the people that developed some of the 'Oceans 11' films, 'The Informant!' is garnering generally positive reviews from critics this weekend.

'Cloudy With a Chance of Meatballs': An animated feature that follows the life and times of a comedic scientist (voiced by Bill Hader, I believe) that develops a way to change the climate so it could precipitate miscellaneous foods. Is this a worthy animated addition to this year's growing list of cartoon sagas? Judge this one for yourself.

'Love Happens'-Another romantic comedy...this time starring Aaron Eckhart and Jennifer Aniston. I think by this time, so far ahead in the history of the genre of romantic comedies, we can assume that love does indeed happen. Is the clarification really necessary?

MovieGhoul Trailer Spotlight: Zombieland

2009-09-14T15:49:00.001-07:00

For those of you familiar with Left 4 Dead, or any Zombie movie/game altogether, you'll probably be interested in 'Zombieland'. Starring Woody Harrelson and Abigail Breslin, 'Zombieland' hits theaters in October. MovieGhoul can't wait for braaaaaaaaains. Check out the trailer above.

Fond Memories from the Grave: Resurrecting 'Fight Club' (1999)

2009-09-13T14:35:00.000-07:00

A couple of months ago, when I saw the film 'Fight Club' for the first time, I posted a short and minuscule blurb about the movie on a certain site by the name of Rotten Tomatoes:

"Thoroughly enjoyable. A nitty, gritty narrative that takes on themes of objective consumerism, complete with violence and psychotic twists and turns. Great acting from both Norton and Pitt. Simply a must-see."

As a consensus, yes, that works perfectly and efficiently by summing up the acting and the tone. But now a couple of months later I realized that, in retrospect, this film deserved a lot more. For anyone who has had the chance to sit through 'Fight Club', I'm sure you would want to have the chance to break the first rule established by Tyler Durden and talk about how the film altered your perspective on...well...let's just say 'several things.'

'Fight Club', directed by David Fincher, is a 1999 adaptation of Chuck Palahniuk's novel by the same name which traverses through the misadventures of a low-cut, blue collar insomniac played brilliantly by Edward Norton ('American History X', and more recently, 'The Incredible Hulk'). On an airplane, he meets a devious soap-bar salesman by the name of Tyler Durden (notoriously played by Brad Pitt) who instructs our narrator on the values of objective detachment and spontaneous opportunity. Together they form the underground street-brawling society known as Fight Club, a gathering that demonstrates the brutal barbarism of human nature under the office jackets and prosthetic dignity of societal consumerism.

'Fight Club' is not about one man's ascension through society by fighting his way up to the top. It was not about chintzy comebacks and underdog fables. Rather, the message of 'Fight Club' is quite universal. Palahniuk, indirectly through Fincher, tells a story of duality and mental imprisonment that resonates outward to the viewer and breaks the confinement of the movie screen. It sums up inner resentment, emotional suppression, and human struggle. By the time the credits roll, your brain will probably feel like it had endured through a strenuous psychological brawl. Norton's character meets and falls in love with a woman named Marla (played by Helena Bonham-Carter), and he aptly quotes to her at the film's resounding climax: "You met me at a very strange time in my life."

Indeed. 'Fight Club' is rife with perfected dark humor and memorable dialogue. The acting is simply intense, and the message will persist within your thoughts for days afterward.

I think that does this film justice.

'Fight Club'-

Nazi Zombies?: 'Basterds' accumulates box office profit, wave after wave

2009-09-11T22:44:00.001-07:00

Last week, Quentin Tarantino's bloody Nazi-scalpin' escapade still finished second in the box office behind 'Final Destination 3.' I think this film deserves recognition from critics as one of the most violent comedic blends of the summer. Plus, this film mixes with MovieGhoul to make Nazi Zombies. Good stuff, yes?

MovieGhoul has not seen this movie, but anyone who has can comment or post in the forums. Check out the trailer for 'Inglorious Basterds' above.

Bits O' Brains: How You Can MovieGhoul Too

2009-09-11T19:15:00.000-07:00

Having trouble expressing how awesome a movie is? Flustered by how pointless the film you just finished watching was? Ready for me to stop asking you rhetorical questions?

MovieGhoul can be an outlet for not only my thoughts on film and moviemaking, but yours as well. And that's why you can join the zombie horde and shamble along to the forums with movie reviews and/or suggestions.

But enough about what zombies can do to help the movie-going community. Now let's talk about how you, yes---YOU, can tell if film flesh is fresh...or miserably and hopelessly rotten. Is the flick you saw today, yesterday, last week, or years ago (if you can remember) measurably good or bad? Here's how you can decide.

What did you take away from the movie altogether? Were you feeling dazed or mildly introspective after being blown away by the Joker's antics after seeing 'The Dark Knight'? Were you hopelessly tangled in a web of useless plot after sitting through the emotionally-discharged 'Spider-Man 3?' Measure the amount of care you had for the message from the film, or consider what the director was trying to accomplish by making the movie. Of course, after you spend some time not thinking about the film, and then it comes back to you...there may be a change in how you feel about what it was trying to say. Looking back is a huge factor in how you remember the motion picture and what you think about when you recall images and flashes from the acting and the plot. Consider this when you write a review, and look back at that moment when you left
the theater or got up from the couch to move on with your daily routine.

What was the acting like? One bad example would be Anakin Skywalker's miserably monotonous portrayal in 'Star Wars: Episode II' (I feel some nerd spittle coming on...). If it weren't for the torturous love sequences and droll moments of the two actors just looking at each other, that movie would have been some decent flesh; but for some reason, George Lucas found the need to exacerbate the viewer's suffering by leaving those sequences within the film and let them drag on with all intention to make one person suicidal in less than 130 minutes.
So yes, there is a bad example---and a good example? Well, pretty much all the actors in 'The Lord of the Rings' series. I mean, Peter Jackson only had to precariously snap his fingers and he would get buckets of tears from any of those professionals. Sam cried for Frodo, Bilbo cried because he was old, Aragorn cried because---he wanted to cry. I can only make a generalization as it has been...oh, say...six years since the last film released. But even I can recall that one fact. That's how pro that acting team was. And that's all you would have to remember.

Consider the story. Did it make sense? Or, more sensibly, did you grasp what was going on as events unfolded on-screen? Think about the tone of the movie. Was it like 'Anchorman: The Legend of Ron Burgendy'? In which case, the tone stayed the same throughout by keeping the laughs in step with the story. Or was it like 'Paul Blart', which was funny---but kept switching from a drama to a comedy inconsistently throughout different twelve minute periods (figuratively, of course). Write in your review about how the story evolved and the setting changed in comparison to some other element of the plot. Did you like the story's outcome and it's development? Remember, be sparing with your zombie-heads. Do with them what your grandma said not to do with your birthday profits. Don't spend them all in one place.

Hopefully this gave you enough juicy brains to write your own reviews or comments. Make that movie you just finished watching well worth your valuable time. Spread the word about fresh flesh, or otherwise, and make your undead groans heard.

Your brains are valuable to us.

The Day of '9'

2009-09-09T14:35:00.001-07:00

It's no coincidence that '9' releases on 9-9-09. In fact, I would not be surprised if this film was intended to be released for just the occasion. It looks like directors Timur Bekmambetov (say that five times fast) and Shane Acker have another 'Wanted' on their hands, except it's with puppets and a world of mechanical uglies instead of normal civilization...and it's produced by Tim Burton. Interesting take on the apocalypse, you three. Now let's see how it does in the box office.

Heh, sock puppets fighting scissor monsters. This movie was bound to release at some time or another...Watch the trailer for '9' above.

The MovieGhoul has not seen this film, but if you have, go ahead and leave reviews, comments, or zombie-head ratings.

MovieGhoul hits YouTube!

2009-09-07T11:00:00.001-07:00

The trailer so nice I posted it twice...but now it's on YouTube! If you like the blog, send the video out to friends or contacts.

MovieGhoul gets a Trailer!

2009-09-07T08:15:00.000-07:00

Check out the new awesome trailer for MovieGhoul! Special thanks to Kkcomics for editing and providing conceptual support.

MovieGhoul does not own any of the rights or trademarks to the movie clips mentioned or sound clips played. The song is Blue Wrath from the film 'Shaun of the Dead.' Dancing ghoul clips from Fallout 3.

MovieGhoul Forums Are Up and Running!

2009-09-06T12:01:00.000-07:00

Who is the most psychotic movie villain of all time? Which summer film do you think should get the most recognition? Whose performances do you feel the most intrigued by?

Express your opinions on film with the new MovieGhoul Blog forums. Any contributions, suggestions, or constructive criticisms would be much appreciated for the future of the site and my writing style. Input would simply be awesome.

A Ghoulish Look Back at 2009 Summer Blockbusters: 'Star Trek' and 'X-Men Origins'

2009-09-06T09:08:00.000-07:00

'Star Trek' 1/2

I don't know if you have seen, but if you YouTube "Worst Fight Scene Ever," you'll probably encounter the cheesy scruffle between Captain James T. Kirk and some lizard monster (Tell me what its called, Trekkies). When you see this new film, it won't take you long to realize that Star Trek has come a long way. A looooooooong way. And really, that's what makes you appreciate J.J. Abram's film. Not only was it fun, action-packed, enthrallingly good and pulpy science-fiction, it also rejuvenated the spirit of a spanning, enduring cultural phenomenon. It was well-acted--Bana played an excellent pissed-off Romulan adversary--and the story actually made some amount of sense. It still had its cheesy moments, like that whole future Spock thing (don't worry...left it vague enough to not be a spoiler...he's even in the tv spots), but overall Star Trek left me wishing for more spacefaring adventure in another feature length episode. I'm sure they're working on it.

'X-Men Origins: Wolverine'-

>Snikt<. Ooo, shiny. Shiny indeed. At least, in terms of big-budget action sequences and overall loudness.

While it's certainly not as fun as last year's Marvel summer blockbuster Iron Man, Wolverine still qualifies as an entertaining action film. Origin mythos, in order to be fully true to such a classification, need more character development: something that gave way to action sequences and was somewhat lacking in this film when compared to other members of the genre, such as Batman Begins. They also tend to focus on one character...and, well...there were enough supporting roles to make several more such standalone origin films as this one.

That being said, Wolverine still had a viable plotline and while there certainly was not room for the necessary amount of character development, one could still feel for Logan's character as he struggled through the throes of his vengeful past. The film did its job of connecting things correctly to 2000's 'X-men' and its respectful sequels. Deadpool, according to some rumors, might be getting a spin-off film which I think is well-deserved as he was one of the more complex of the other supporting characters. Overall, Wolverine exposed the other side of Marvel Entertainment--in contrast to the good-natured, verbal spars of Tony Stark, Wolverine proved to be a darker, more dramatic thriller--perhaps a demonstration of the versatile nature within Marvel's universe.

Have you seen these movies? Give them a zombie-head rating in the comments below this post.

Deadly Nostalgia in 'Zodiac' (2007)

2009-09-05T22:23:00.000-07:00

About as psychotic as 'Silence of the Lambs', but you get that sinking feeling and your stomach does somersaults when you fit yourself into Jake Gylenhaal's predicaments, especially during the gut-wrenching basement scene. That in itself is the most enticing aspect of 'Zodiac': that the story was just as real, just as psychotic when it happened---and the film captures that time period perfectly. David Fincher does a marvelous job of keeping the film both character-driven and wrought with breathtaking suspense throughout. If you have not yet viewed 'Zodiac', it would be time well spent, though it may be an extended period of time due to its length, to get down and find some way to sit through this masterpiece.

'Zodiac'-1/2

Have you seen this movie? Comment and give it a zombie-head rating.

Fond Memories from the Grave: A Look at My Review of Batman Begins (2005)

2009-09-05T19:06:00.000-07:00

I was expecting something campy. To be honest, I was skeptical of another Batman film after the fatal flop that was 'Batman and Robin.' No, Christopher Nolan's enthralling vision of a poverty-stricken Gotham City combined the best elements of 1989's 'Batman' with the realism of a modern day metropolis, signifying the well-deserved reestablishment of a franchise that had apparently fallen off the wayside. 'Batman Begins' testifies to the foundations of humanity that lies within the basis of all comic book heroes, with focus on thematic elements of fear and mental uncertainty which instigated the emergence of Batman as a figment of Bruce Wayne. Batman Begins is arguably the most psychotic and moralistic addition to the filmography of the Caped Crusader.

'Batman Begins'-1/2

Have you seen this movie? Comment and give it a zombie-head rating.

A Ray of Light from 'Little Miss Sunshine'

2009-09-05T19:00:00.000-07:00

'Little Miss Sunshine' succeeds where hundreds of other comedies and sap stories fall flat. This film tells the inspiring story of a thin ray of optimism in an ocean of dysfunctional disposition without the cliche of predictibility, and this is captured perfectly by the filmmakers, the script, and the performances of Alan Arkin, Abigail Breslin, Steve Carell, and Greg Kinnear. 'Little Miss Sunshine' is an extended and soberly realistic take of something like 'The Simpsons': it is plot-driven, but also largely character-based. It's fun to note that the opening title stands out glaringly against Steve Carell's sunken complexion at the start of the film. This movie is ironic, satirical, and rife with lovable humor. Experience 'Little Miss Sunshine', if you have not already.

'Little Miss Sunshine'-1/2

Have you seen this movie? Comment and give it a zombie-head rating.

You Should Be There for 'I'm Not There.'

2009-09-05T17:54:00.000-07:00

Abstract and thematically engaging, 'I'm Not There' immortalizes the saga of a folk singer/storyteller that became the voice for generations in the late twentieth century, giving Bob Dylan's life the symbolism and metaphorical parallels that it essentially stood for. In the perspective of this film, Dylan was a wanderer, an outcast, a figure of fame, an actor, a lover, and a folk legend---all portrayed by different actors that embodied different aspects of that persona. 'I'm Not There' effectively captures the tensions of the time period and its people, even touching upon the boundaries of the human psyche through the tinted eyes of one man. I was there for "I'm Not There", and you should find the time to be there too.

'I'm Not There' (2007)-

Have you seen this movie? Comment and give it a zombie-head rating.

'Extract'-ed from Office Space

2009-09-05T17:22:00.000-07:00

When Mike Judge filmed 'Office Space' years back, the main character was surrounded by--well, let's say colorful--characters that amounted to a mediocre job in a mediocre life. 'Extract' pulls from 'Office Space', but not so much that it is simply a rehash of a film. No, 'Extract' is well-worth the laughs. Jason Bateman plays his main character, Joel, like he played his other supporting characters as he had in other films and that was just right for this movie. The other characters, in a similar fashion when compared with 'Office Space', are just as quirky and the dialogue is wittily elaborated. The story is not linear, and that is what made 'Extract' better thematically as a comedy.

While 'Office Space' may be more memorable, 'Extract' maintains a comparable, satirical tone that will probably get you to laugh later on as you recall the highlighted scenes of the film.

'Extract'-

Have you seen this movie? Comment and give it a zombie-head rating.

Rotten Tomatoes: District 9 Movie Review by Spagett M.

2009-09-05T13:50:00.001-07:00

Rotten Tomatoes: District 9 Movie Review by Spagett M.

Shared via AddThis

'District 9' Consensus

2009-09-05T13:49:00.000-07:00

'District 9' is simply phenomenal. Neill Blomkamp's directorial debut is a stunningly realistic and emotionally gripping sci-fi thriller with heavy racial undertones and the questioning of loyalty in society as excellent thematic elements. Sharlto Coplay puts on a chillingly convincing performance and the visual effects are very well done. To not view the film this summer would be missing out on the most worthy of blockbuster sensations of the entire year.

Have you seen this movie? Comment and give it a zombie-head rating.

This Week in Film-Aug.30--Sept.5

2009-09-05T13:15:00.000-07:00

Some movies of interest that are releasing this week and what some critics are saying:

Extract-Mike Judge returns to the tone of Office Space with this consumer comedy. ( Bits of Brains)

Gamer-Gerard Butler in an explosive action flick. (Stay Dead)

No Impact Man-a film with limited release. Don't know very much about it, but they say its good. (Fresh Flesh)

MovieGhoul: Where Zombies Meet Film

2009-09-05T12:58:00.000-07:00

Welcome to MovieGhoul! Here, you can share thoughts and such on film or television shows. I'll try to update weekly with new movie releases and shifts in discussion. I have a Rotten Tomatoes page (Spagett M.) http://www.rottentomatoes.com/user/711977/ and you can see me on YouTube at http://www.youtube.com/luckycricket1493

Feel free to leave comments, criticize, or observe on these pages---as it will help with future developments for the blog and how I am writing. Input is much appreciated.

About the film ratings:

-Stay Dead (equivalent to 1 star)

-Brainless(equivalent to 2 stars)

-Bits of Brains (equivalent to 3 stars)

-Fresh Flesh (equivalent to full 4 stars)