Zero-Limiter Holiday

Just a speedy mid-holiday update as trip to visit family winds down, and mere hours remain before the journey home commences. Best thoughts to all who have been able to celebrate what is indeed in our hands whether they be friends, family, or both. Aside from spending time with the desert clan, much has been watched, mostly via a pair of absurdly large screens (One plasma, and the other with True HD enabled). And while I personally would never consider screens that opulent, it is a great way to explore the limits of certain works available on Blu-ray. Of the most notable I caught were Rebuild Of Evangelion 2.22 (Which looked and sounded terrific, justifying the very project's existence.), as well as The Mist, and the recently released Evil Dead II. Again, as nice as it was to experience with such grandeur, I'm not sure I would ever go this far for my movies. There is still a part of me who prefers the theatre experience, and home is home.

Regardless, being able to be in a house where in one room, Kiki's Delivery Service is playing while Lupin III: Castle Of Cagliostro is playing in another, feels like a massive paradigm has shifted. Not only with family, but with media in general. And that's pretty exciting, despite the new challenges that seem to crop up with each new technological growth spurt. My only hope is that ease of access doesn't cheapen this love of art and story to the point where everything is mere distraction, incapable of inspiring thought or discussion. Those who are familiar with this site know full well where these concerns stem from, and as access tinkers with value, the challenge becomes ever greater to have some kind of determined amount of impact. And while it took many years to finally reach a point where Miyazaki films could be treated as something wholly mainstream on these shores (memories of working at a major local video store, virtually forcing the sole copy of My Neighbor Totoro onto confused families swiftly come to mind.), there is always the danger of being seen as just more for the pile as entertainment overflows, and submerges our minds. Quality speaks-yes, but consumers also have limits.Much like how I can be with looking at the latest array of new shows available via Crunchyroll, or another legitimate anime streaming site, it becomes something of a blurring point, making writing off to become one of the more accessible options.

That said, it's exciting to witness this latest toy era, but I often question the cost. And as the family and friends section of the weekend becomes hijacked into yet another celebration of a culture's fascination with the material (yet endlessly ephemeral), it is at least good to know that not everyone has let their monitors speak for them, and allowed their thoughts and words come across. If the culture of the real remains the focus, and the audio-visual end continues to work as an extension of it, bringing out new ideas and debate, perhaps we're all the better for it.



And speaking of discourse...

State Of The Kaijyu: Prelude To Revolution

Thanksgiving is right around the corner, and not a turkey in sight. (Lest you consider a belated session involving The X Files: I Want To Believe, anyway) With the weather bearing down on many of us in the So-Cal area, as well as an upcoming trip to the old hometown, things will likely continue to be mildly quiet around here. Which isn't in any way implying that I haven't had my hands full with new, and old stuff to watch over the last several days. In fact, true to my most recent Anime Diet post, it has quickly become a retro season of sorts for me as not only did I get another chance to look and share thoughts on an obscure 1980s favorite in California Crisis, but a healthy number of titles by way of several sweet sources. Now not initially ready to share about all of them on the Diet (after all, I find that spreading the fun around is a lot more interesting), there will be a few posts regarding a few on these pages. But for now, seriously give that AD post some loving, as I find that it's ambitious one-shot OAVs like those that helped solidify my love of the medium in those oh so physical days of the pre-wired.

In other, mildly online project related news:

 

Pretty exciting stuff, I feel anyway. After a year of running a show, a part of me is so ready to take it to the next logical tier. Updates as they come(via Twitter, of course!)

 

Between Tengoku to Jigoku

Aside from spending my Saturday at Pacific Media Expo, which was quite fun for the most part, I partook another viewing of the then-underappreciated Kurosawa favorite, High and Low, which helped me formulate more thoughts concerning the current state of affairs. And as thousands continue to speak out against criminality in the corporate and governmental worlds, it rang a particularly deep chord within me this time around, especially in regards to how the film portrays nearly self-made shoe powerhouse , Kingo Gondo's shifty, negligent board members, as well as his creditors who plot to wring control, and continue to abuse their positions for greater shares of wealth. Kidnapping plot aside, which seemed more a desperate act than anything truly diabolical, it is the action of those already on the "inside" that promote an unhealthy influence upon a society's only recently begun restoration. And while the morality of the film wavers, even within the ivory walls of Gondo's home, it is easily seen as a reaction to loss of status for not only him, but his wife and family. But when everything has transpired, it remains clear that his demeanor is that of a survivor, and not of those so easily pushed to the abyss that they themselves commit crimes beyond the redeemable.

I love how the film so easily could have portrayed the hardened businessman as a model from a simpler time, with a clean rep, and white-tinted actions, but it plays on our ability to empathize with the man as he grapples with negotiating with a kidnapper. Streaks of grey are all over the place, the film lives up to the title, and we are presented with an impeccably staged, refreshingly honest look at the lives of those in places of power, without allowing the compass to lean too hard to one direction.

But when I watch the online chatter via Twitter, news video, and read the testimonies, one cannot help but feel that many of those like the ones surrounding Mr. Gondo throughout his central crisis have been on the winning team for far too long, with a public at long last ready to hold them accountable. But the largest tragedy when considering the film, is the role of the police, public servants dogged in the pursuit of not only the perpetrator, but some semblance of truth for those willing to sacrifice so much for others. Not being able to see this reflected on the streets of a number of our major cities is enough to not only sadden me, but seek to further damage the very idea of democracy and social justice.


And when the film finally takes us to hell, it serves as a reminder of how much worse the human heart can be when it feels suppressed and impotent. It is something many in the current movement are fighting to rise beyond. Further sending home that we are all capable of so much more. Now if only more in the towers were to follow suit.

Uchu Senkan Yamato (2010) Movie Review

It is the year 2199,

After five years of seemingly endless attacks by an alien force known only as the Gamilas, nearly the entire surface of the Earth is rendered uninhabitable, forcing the remaining human population to retreat beneath the surface. After a major offensive by the Earth Defense Force, the Gamilas response is swift and fierce. And in the ensuing retreat, Captain Juzo Okita and his crew are saved from destruction due to the noble sacrifice of Captain Mamoru Kodai and his ship, the Yukikaze. Meanwhile, the younger Kodai, Susumu lives a life away from the military he once knew quite well, now salvaging decontaminated matter for sale back to the military. However, upon stepping out onto the desert-like surface, he is nearly hit by a falling object, which strangely contains blueprints and details regarding potential means for not only helping what remains of humanity survive, but to restore Earth to its former living glory. The catch is that this enigmatic device only exists on one planet, the planet which claims to be the source of the metorite, Iscandar, a world far beyond the Milky Way galaxy, and a journey fraught with almost insurmountable danger. And yet with this miniscule nugget of hope in hand, the EDF enlists Okita to seek volunteers for a mission that could very well decide the fate of not only the crew of the alien-technology restored space battleship, Yamato, but of the earth entire. But the Yamato is but one, and time is running out.

And so it is, one year after the initial release of one of the most anticipated live-action events of my moviegoing life, I have finally been able to catch Takashi Yamazaki's grand rendition of one of Japanese pop culture's most enduring creations.

Originally airing from 1974-1975, the brainchild of barnburning visionary, Yoshinobu Nishizaki, along with soon-to-be  anime legend, Leiji Matsumoto, Space Battleship Yamato was and remains one of the most, if not the single most important anime creation of all time. Blending a fresh mix of high romance, space opera, and historical rumination, Yamato helped usher in a wholly new form of fandom for an animated series initially geared toward younger, preteen audiences. Having initially been deemed a failure, demand by an unexpected demographic (older, college-aged fans) eventually roared new life into the series, leading to not only a feature film, and a new series, but eventually international success, as the it eventually found itself dubbed and released under the name Star Blazers. Which is how I initially experienced it as a wide-eyed grub, glued to the screen as an animated show took me places I never imagined possible by a cartoon.

And even as the series came edited, and with names & certain circumstances changed, it was clear to me that something special had been discovered, and that no matter what, one day the feeling I experienced simply by way of appointment viewing would return on my path one day. Yamato came at a time when science fiction & fantasy had suddenly shifted due to Star Wars a few years prior. However, the series' unique brand of unexpected grandeur and seriousness had affected me in ways that the Treks and Wars could not. It galvanized me into watching it, ever more curious as to how the story would unfold. Even as I was too young to fathom the series' deeper musings about Japan's feelings post WWII, it was the compelling characters and situations that kept me coming back for more. I won't lie, Susumu Kodai (Derek Wildstar) was something of an early fictional heroic foil for me as a child, and Shima (Mark Venture) was always at closer in spirit to me. And it didn't hurt that the show's most brutal hook, a continuous countdown of days remaining for our heroes to reach Iscandar and save Earth always hanged over the end of each episode like a shroud of doom. Far from subtle, it seriously played havoc with my young brain for weeks on end. And it wasn't until much later that I finally saw the series in its entirety, along with the films, each of which broke my heart time and again with bizarre ease. It is a series that embraces full emotion, and plays it to the hilt with a grand sweep most anime simply hasn't been capable of replicating.

So when speaking of this large-scale production, it may help to preface this by openly stating that up until this point, I have never been the biggest fan of Yamazaki. Upon discovering the news that he was to helm the live action duties for such a beloved series, concern was the first feeling that swept over me. Having seen several of his films, including Juvenile (2000), and Returner (2002), his brand of derivative mish-mashing can be reminiscent of a more sedate Roland Emmerich complimented by heavy digital effects work, and one-dimensional characterizations. Even his award-winning Always films tap into a more populist mindset that at times runs counter to the kind of nuanced storytelling required to handle such a grand tale. So it may surprise some to discover that at least 60% of the time, Yamazaki finds it in himself to not only do a decent job of bringing Yamato to life, but to help establish something I have always wanted to see done with live action anime; create a work that is different enough, and yet wholly reverent to the source material.

Naturally, having to tell such a sprawling tale within a 2 and a half hour running time makes for some compression issues that at times can be more than a little jarring. Oddly, what came to mind regarding story efficiency was Speed Racer(2008), where nearly the opposite took place. That film suffered from an almost unnecessary first hour, whereas with Yamato, the film virtually catapults into the central mission well within the first thirty minutes, which leaves little to no time for the viewer to get a good idea of not only who these characters are, but grant a foundation for how each individual arc will unfold throughout the film. This is easily the most auspicious issue I may have with the film as a whole, as relationships merely move, and aren't informed well enough, and far too much happens far too early to have any impact to anyone who isn't already familiar with the story. It's a clumsy start that the finale in many ways never recovers from, and yet there are so many other elements that somehow buoy the remainder. And a lot of this may be due to a sense intimacy granted in later moments where a pretty good cast rises well beyond some of Yamazaki's patently obvious direction. It is also very clear that nearly all involved know full well the world they are bringing to life, and it shows despite the at-times all-too-ripped from recent science fiction vibe emanating from much of the action. If one is able to overlook the Battlestar Galactica and JJ Abrams Star Trek, one may be able to be truly wrapped up in matters.

Some of the "new" that works:

Among the more obvious changes, are a few of the casting decisions, along with some interesting role alterations. Updating the often dismissible Yuki Mori(Meisa Kuroki) into a Black Tiger ace pilot was a particularly welcome change, although it would have been more exciting to have explored her character a little more. What winds up onscreen offers only a vague idea of who she is, and what she could bring to the mythos, especially in regards to her relationship to Kodai, which is a major lynchpin of the series. Something there was definitely needed in order to offer lasting oomph for the finale. Also, I actually rather enjoy the idea of Sado-sensei being played by Reiko Takashima. If there's any problems with her and Maiko Scorick as Communications Officer, Aihara, it's that they merely are there out of necessity. And Shima as dad to Jiro (previously his little brother) adds additional tragic punch to his backstory, which helps his role move a little faster. And then there's Analyzer...Well. The less said about Analyzer, the better.


In the "bold" department, is the representation of the Gamilas, which I will not go into too much detail here. But it is an interesting, more "alien" choice to go with, if not a wholly satisfying one since one of the original mythology's more compelling elements was that of an almost familar enemy which further blurred certain moral & emotional lines in regards to warfare. Dessler is here, just not in any way some might expect. It is another decision that in many ways isolates the Yamato crew, and keeps the threat from being anything more than an almost faceless nuisance until the final reel.

And as mentioned, despite Yamazaki's often awkward staging & blocking, there are a few notable performances that helped ground this rendition with unexpected aplomb. Most importantly, Tsutomu Yamazaki's Okita, who's frail and yet duty-hardened frame carries a burden too great to share with the crew. It's a delicate, unexpectedly effective weight he brings to the film when it often threatens to reduce itself to borderline camp when it comes time for the FX action to take center stage. And in an almost serendipitous case of casting, Takuya Kimura's Kodai is an almost dead-perfect portrayal of a young man rapidly seeing his destiny crystallize before him after years of remaining the brash, short-tempered kid with a chip on his shoulder. Seeing as how the Kodai character is pretty much the classic "hero's journey" archetype, Kimura adds just enough gravitas to make the character work. Also welcome to the proceedings is Hiroyuki Ikeuchi (Ip Man) who's take on Space Commandos' leader, Saito is fun and earnest enough. As is Toshiro Yanagiba's terrific take on Sanada, the ultra-serious Chief Science officer.

Back to the bold without spoiling the film. As a single outing event piece, Yamato goes out of its way to pay tribute to numerous famous images and moments, at times to the point that it seems like Yamazaki, and writer Shimako Sato were out to cover their bases in case the film was a financial failure. And as a result, I'm afraid that there is little left to be said once the credits roll. And while much of the finale is milked for emotional impact, again, it feels as if producers were ready to cut their losses, much to the detriment of the film. Which isn't to say that the final product comes without it's own effective moments, but it does leave a void in the "what could have been" department. There is such a bar to be reached when considering the legacy and emotional potential of a grand scale (preferrably three-hour) Uchu Senkan Yamato movie, that perhaps, at least as of now, it's a dream idea near improbable to reach. But fans can still dream, can't they? A fun and welcome tribute is perhaps the best one can ask for.

Things Happening- IN SPAAACE!

The landscape has changed, but a generation has yet to be fully forgotten. The last few years have seen a decent number of revivals, some much more long-awaited than others. Can one ever truly rekindle old passionate flames borne far in the recesses of deep space? What happens when a lifelong lover of early anime space opera takes the invite, and dives into not one, but three big budget exercises in nostalgia in the hopes of "Remembering Love"? Tune into The Wandering Kaijyu & Anime Diet!

The Demon Gets Its Due: The Paranormal Activity Trilogy

                   

So it comes to pass that what was once seen as a novelty work around for no-budget filmmakers to create effective, rudimentary, and in many ways experimental exercises in horror now reaches that divide where the more conventional world of franchise horror film oozes into the frame. Which isn't to say that this was unexpected, but in the challenge that comes with straining out a singular premise based on the technology available, it's virtually inevitable that their verite element would be compromised for the sake of sequel dollars. And since I was among the thousands who took the brilliantly placed marketing bait of the original hook, line and sinker, part of me knew upon seeing it that Paramount would go out of their way to make sure this become a protracted series of works, all in the name of being the next in the neverending trend of horror being allergic to singular success. Which isn't to say that in today's climate is not understandable with attendance numbers waning, and ticket prices increasing. Anything that is capable of engaging the crowd in new and interesting ways is bound to inspire a repeat. The problem comes when this method is so threadbare simple, that any greater expansion of the conceit invites contrivances and nuances that threaten the foundation of such an idea.

Which is at the essence of what has happened with Paranormal Activity as a franchise. Inevitable perhaps, but a part of the viewer in me can't help but be compelled by things happening in between what has become the films' expected pattern. And even when readers might already be asking the expected "whys" regarding my own interest in this series of films, I have to go ahead and admit that it has been years since a horror franchise has kept me coming back. Having grown up in the heyday of the trend (the 1980s was in many ways the petrie dish by which most of today's film marketing  and creation habits spring from) I have long since ignored most horror movies made to cash in on the success of the original. Especially when the sequels clearly have nothing more to say regarding the myth established, save for a repeat of the same, all the while increasingly wandering away from scares and thematic heft. While the same can be said regarding the PA films, there has also been an interesting set of themes that have sneaked themselves into the mythology.

Themes that help the films work in spite of their minimal nature.

But first, what is the surface mix? The initial hook? What is it about this take on the "found footage" verite subgenre that connects so well with the general public?
For me? Unassuming showmanship.

Particularly when thinking the $15,000 price-tagged original film made in 2007, and released wide in 2010 via purchase from Paramount Pictures, PA's secret weapon resides in the use of drawn out static shots, phantom sounds, and an absorbing lack of polish. It's resourcefulness being the primary element in delivering the scares made for a unique experience in mainstream multiplex horror. Suddenly, the audience was compelled to watch more closely than they had in perhaps decades. Not unlike a Where's Waldo book, or even a Magic Eye Painting, the viewer is required to involve themselves in ways unusual for a modern horror film. A technique perhaps best pioneered historically by the Lumiere brothers..



Since then , as viewer habits, and technique evolve, it has become increasingly more challenging to draw in the senses in ways that deliver a potent shock. Which brings us to the internet age, and perhaps a turning point for the genre in general.


In the years post- The Blair Witch Project, as well as the J-horror boom of the late 90s, a hunger had been growing for more entertaining means of exploring the unexplained, particularly in the realm of low to mid-grade video. In fact, as an extension of the Japanese fascination with ghosts in lieu of the success of such films as Ringu(1997), and Ju-On(1998), variety tv shows began flirting with so-called "found footage" of hauntings, as well as explorations into long spoken of ghost tales.



And as the internet began to gain ground on the international level, it also became prominent to share videos, often claiming to capture moments often inspiring fear and even more fascination. So once online video came to greater maturity with the advent of YouTube, a growing appetite, and openness for found video set the stage for a new type of vernacular that films like Blair Witch, and even Cannibal Holocaust flirted with. Only made more relatable by way of video technology's increased affordability, the last barrier dividing filmmakers and the everyperson has dissolved, making these movies ripe for pilfering.


Now onto the second-level, and this is where it truly piqued my interest.

For those unfamiliar, I had shared a few words regarding the original film. While a part of me admired the achievement, its bare bones nature, not to mention the reliance on a character to act beyond reason almost hurt the film. ( and of course, there's a tacked on scare in the last moment that cheapens a lot of what comes before) And yet despite these small quibbles, I found a lot to like in regards to its view of not only the unknown externally, but also internally.  It turned out that for my money, it was the internal conflict of the film's two leads that made the piece especially effective.


Quick Recap:

Paranormal Activity chronicled the lives of Katie & Micah (using their real names) whom soon after moving into a tract home in the San Diego suburbs, begin experiencing nightly disturbances. Leading Micah, already hooked on capturing life on video, decides to set up a camera on a tripod to capture them while sleeping for what he possibly hopes is a sense of comfort for Katie, who already seems more sensitive to the situation than he is. Over the course of several nights, the disturbances increase in their ferocity, eventually coming to a crescendo when it becomes clear that Micah's doubt has opened a door
 to what is ostensibly a doomed finish.

So what leads me to retain the opinion that the original once again claims more potency over later films, is the underlining notion that despite the American ideal of cohabitation, even in the most secure neighborhood & housing, living with others is fraught with an eternal nihilistic edge. From a universal perspective, security is merely illusory. No togetherness. No understanding. It is the classic "fundamentally alone" perspective that reigns supreme in the original piece. It is made even more evident in the film's original pre-studio version, where Micah and Katie's ending is even more viscerally pronounced. And this is possibly a fear that runs much deeper than any idea regarding malevolent spirits. The real malevolence, being our inability to connect and accept a more realistic view of a universe in perpetual flux.


Not sure if this was what original creator, Oren Peli had in mind, but it is worth considering.

Paranormal Activity 2:


So when it came time to franchise the film by following it up with a quasi-prequel involving the days prior to the events just witnessed, much of the same was employed, which not only expanded the mythology regarding Katie's family, but increased the number of cameras/opportunities to witness another rift between worlds. This time, involving Katie's slightly younger, married sister Kristie, her new husband, Dan, his daughter from a previous marriage, Ali, and most importantly, the newest addition to the family, infant son, Hunter. With a larger, more lavish home, a more diverse cast, and a handy home security video system, its safe to joke that the franchise has leaped beyond credibility right out of the airlock. However, there is enough care in the film's craft and tone that does well to keep the fear potent for those open to the experience. Not to mention a larger, broader thematic target. Just as it becomes easy to question the logic of all the moments captured on video of characters reading up on what could be haunting them via the internet, and reading it aloud to themselves, there are many new takes on the same stretches of eerie quiet once the family takes to bed. The dreaded "Day X: Date and Time" again marks the moments when the audience is asked to look closely before things take their expected turns. The expected bumps and shrieks unfold as before, but it is here that much of what was left vague in the previous film begins to coalesce, implying that the spirit that haunts this family may very well be the product of human desire, and not so much of universal apathy.


And while this may undermine my previous statement regarding the first film, 2's implications regarding two sisters either marrying into money, or loving into it begins to take a sinister turn when one considers the revelations here.


Which is where I bring in a most unexpected thematic bridge to this very writeup:

One of my initial film analysis writeups was regarding the fantasy-comedy favorite, Ghostbusters(1984), in which several down and out scientists, with the assistance of a sarcastic-salesman type, create a revolutionary business model based on age-old superstitions, only to awaken the wrath of generations worth of angry spirits. Upon good-boy character, Ray Stantz (Dan Aykroyd)s exasperated sadness at having sold an old family home to buy a loan to start this new (potentially fraudulent) business venture, we are in full 1980s zeitgest mode, as the film spins a fun FX-laden comedy regarding the era of Reaganomics, and the potential ruin inherent in its methodology. By the end of the film, Zuul & Gozer are vanquished, and despite all that occurs in the film, we see the classic Ghostbusters logo emblazoned on clearly street-made T-shirts, all while Rick Moranis asks a local New York firefighter who does his taxes. And while this was all in the name of comedy, there is this sneaky element that perhaps helps best inform what Tobe Hooper/Steven Spielberg's Poltergeist had warned of previously. A deal gone awry, only to incite future ruin by way of forces long neglected by modern pop-ideology and greed.
Actions of the past may very well have paved the lives of both Katie and Kristie, only to secure that a future simply isn't possible for any involved. Made all the more clear by Paranormal Activity 2's unquestionably bleak finale.

So what in the world could a third film- and also a bigger prequel, do for this theme? Well, to be honest, it does what virtually any other mythology building block can do in the horror movie landscape, repeat to mixed success.

Paranormal Activity 3:


In a quick prologue, we are introduced to the revelation as to how a certain item was found inside Katie & Dan's home, prior to the events of the first film. We also witness the dropping off of a box filled with VHS cassettes, many of which chronicle the childhoods of our central characters. Flashing forward to the burgulary that opens 2, we are informed that nothing was stolen amongst the rubble left behind, save for these cassettes. So what 3 will be, is the documented account of events both sisters hinted at in some of the more dramatic moments of the second film. This time, the video is captured by way of their mother, Julie's boyfriend, Dennis, who has his own wedding video and editing business. And once again(or perhaps for the first time), we witness the beginning through the eyes of Kristie & Katie's family, as an imaginary friend turns out to be anything but.

And again, I'm hesitant to grant this anywhere near a typical review as these pieces work less on a traditional level, and demand as such. That said, this installment can easily qualify as the most "movie-like" exercise of the bunch. In fact, many elements here play full well in the pantheon of an older school of horror sequel. To the point that the film begins to blur the line between traditional narrative film and verite-style document. When the piece makes open references to films such as Poltergeist, and even Back To The Future, one knows that we are in a warped mirror vision of reality. And yet, despite this, a good ninety percent of the film succeeds where most 1980s period pieces fall short. Helmed by  Ariel Schulman, and Henry Joost, the minds behind the controversial indie, Catfish, PA3 is as far removed from their dent-making debut as imaginable, but also offers decently unique scares and some truly impressive performances by the young actors playing the sisters, while remaining true to the spirit of the series. In many ways, this could very well have been the kind of film Book Of Shadows would have benefitted being more like: a traditional scare film, with an almost meta spine running through it all.


So naturally, the big question of this film's existence lies in just how Dennis is able to capture hours upon hours of video in the days of EP/SLP mode, and incessant tape changing. (Not to mention lesser quality video-which this film brazenly sidesteps for questionable reasons. There is also a welcome addition into the method involving an oscillating fan that not only made my inner DIY geek smile, but plays havoc with our line of sight.) The further down the rabbit hole we go with the premise, the louder the question of why the camera is there and only grows louder. The crux of the whole film being wholly dependent on how much one is willing to believe in this scenario. So when the expected flooring of the gas taken by the demonic presence reaches it's logical conclusion, the only way to go, is to bring us face to face with...Well...Perhaps it is best not sharing here. But if this franchise has any remaining thematic integrity in store, this is a most appropriate finale, which again supports the 1980s Baby Boomer Curse bridge theory.

The seething anger inherent in the subtext of these films can only remain as fresh as they are if the premise isn't taken beyond this point. There is a cutting, vicious edge to what has been shaped here in regards to our modern culture, and what we are waking up to realize about the generations prior to us. As Schulman and Joost performed an occasionally fun bonus chapter in the tale, taking advantage of whatever limitations the era and budget could provide, and based on the audience's reactions at my screening, it may be best to hoist up anchor and move on. Once the audience catches onto the format, ready to squash it tightly into a  neatly labeled box,  it's time for horror to find new ways to engage and surprise again.


                             

The Fleeting Fear

The last days of October are rushing by with almost distressing speed, and all the while I'm pretty bogged down with work and stuff to watch. So much in fact, that my annual diet of horror has been left more than a little wanting. And finally having a workable Netflix Streaming setup has run at odds with an unpredictable bandwidth- an unexpected development. Regardless, time will be made over the next few days to drink in a few of the more recent films available on streaming. Some of which include John Carpenter's The Ward, which came and went earlier this year with me unable to catch it. Also recently added has been The Last Exorcist, which has received enough positive talk to pique my curiosity. And speaking of the verité-horror, despite my more rational wishes (again), a part of me feels the need to check out Paranormal Activity 3 after such a strong opening weekend. Something must indeed be working with that kind of haul. And with the two guys responsible for Catfish at the helm, no doubt it should have a unique feel.

Also here to report that a review copy of a book covering the life of one of my original movie inspirations has been in my possession for a little while, and nearing completion. Am currently debating whether or not it would be best to review it in sections, rather than in one post. And seeing as how lunch has been my designated reading time, it hasn't been the most expedient manner to fully digest it. That said, there's a lot of illuminating stuff in it that deserves sharing about in these pages. Now if you'll excuse me, it's time for the Attack The Block Blu-ray extras. Oooh yeah..