torchwood949-166-552404
Joined Sep 2011
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When the trailer boasted the producers of "Paranormal Activity" and "Insidious" the idea of what tone this film would be reared it's head. Based around a series of jump scare sequences and slow character sections in order to attempt to make you feel for the characters while easing the tension of the situation. It's a tired formula that is becoming all the more clichéd and repetitive. However Sinister manages to find ways to break free of these leashes that the horror genre is becoming tied down to.
Ethan Hawk stars as a true crime writer known as Ellison who moves into a new home with his wife, Tracy (Juliet Rylance) and his two children, Ashley (Clare Foley) and Trevor (Michael Hall D'Addario) near the site of a local crime in order to get inspiration for his novel. During an exploration of the house Ellison stumbles across a box with an 8mm camera and a selection of films, which upon viewing exploit gruesome murders. This thrusts area hero into a terrifying mystery as he tries to piece together the meaning behind it all.
With horror films these days we come to know what to expect. We're given characters that we can't connect with merely there to service the plot and an un-original story that we've seen time and time again bringing the audience no sense of engagement. But mostly we're never scared beyond the mere technique of a jump scare. With director Scott Derrickson we are shown again how mainstream horror can creep on us with effective imagery and suggestion. The scares here can be portrayed by just using obscure camera angles and bizarre images that unsettle us. Derrickson understands though that using loud bands and noises to jolt the audience can be done effectively. By backing up these moments with his strong imagery he uses it as a tactic to implant these horrific moments in our minds.
The highlight however is the use of the 8mm films. Sinister is in love with the idea of film, from celluloid to digital as not only are we treated to disturbing super 8 films but Ellison boasts are large collection of VHS tapes of his old achievements. It's a nice, simple touch that film fans will appreciate. These 8mm films though boast some truly graphic sequences, one particularly involving a garden tool. Backed with a moody soundtrack by Christopher Young who's worked on other horror gems such as "Drag Me To Hell" and "The Exorcism of Emily Rose". It feels more of an ambiance piece rather than a fully diegetic score merging together a series of dark and effective sounds building the feeling of dread constantly throughout.
Written by Derrickson himself and writer C. Robert Cargill the screenplay manages for the most part to push past the bland formula we've grown to endure with horror films of late. The film brings an intriguing plot that manages to put you in the position of Ellison's character, uncovering the plot and mystery when he does. There are scenes in which are hero re-visits the 8mm films and discovers new elements to them which adds a new depth to the story. The film feels relentless, rarely taking time to slow down and constantly feeling as though it's propelling towards something. However elements of the script are where the weaker parts of the film shine. While managing to bring interesting uses of horror and tension the film often retreads over clichéd ground as though it's trying to keep a warm attitude towards mainstream audiences. These are the times when the film feels as though it may lose focus but always manages to pick up its feet again. Alongside this we have some underused side and poorly written characters such as a police deputy who doesn't feel natural within the whole scale of things.
Sinister may tread over worn ground by it still manages to feel fresh and revitalizing in an age where we've conformed to the degrading standards of horror. It embraces the roots of horror and film in general making it much more than a homage and a feeling of an original yet genuinely terrifying story. Hawk manages to carry the emotional tangent of the narrative while the other characters are merely serviceable. It's not groundbreaking but for a mainstream horror film it takes some inventive and daring steps creating a terrifying, disturbing yet absorbing piece of cinema.
4/5 Stars.
Ethan Hawk stars as a true crime writer known as Ellison who moves into a new home with his wife, Tracy (Juliet Rylance) and his two children, Ashley (Clare Foley) and Trevor (Michael Hall D'Addario) near the site of a local crime in order to get inspiration for his novel. During an exploration of the house Ellison stumbles across a box with an 8mm camera and a selection of films, which upon viewing exploit gruesome murders. This thrusts area hero into a terrifying mystery as he tries to piece together the meaning behind it all.
With horror films these days we come to know what to expect. We're given characters that we can't connect with merely there to service the plot and an un-original story that we've seen time and time again bringing the audience no sense of engagement. But mostly we're never scared beyond the mere technique of a jump scare. With director Scott Derrickson we are shown again how mainstream horror can creep on us with effective imagery and suggestion. The scares here can be portrayed by just using obscure camera angles and bizarre images that unsettle us. Derrickson understands though that using loud bands and noises to jolt the audience can be done effectively. By backing up these moments with his strong imagery he uses it as a tactic to implant these horrific moments in our minds.
The highlight however is the use of the 8mm films. Sinister is in love with the idea of film, from celluloid to digital as not only are we treated to disturbing super 8 films but Ellison boasts are large collection of VHS tapes of his old achievements. It's a nice, simple touch that film fans will appreciate. These 8mm films though boast some truly graphic sequences, one particularly involving a garden tool. Backed with a moody soundtrack by Christopher Young who's worked on other horror gems such as "Drag Me To Hell" and "The Exorcism of Emily Rose". It feels more of an ambiance piece rather than a fully diegetic score merging together a series of dark and effective sounds building the feeling of dread constantly throughout.
Written by Derrickson himself and writer C. Robert Cargill the screenplay manages for the most part to push past the bland formula we've grown to endure with horror films of late. The film brings an intriguing plot that manages to put you in the position of Ellison's character, uncovering the plot and mystery when he does. There are scenes in which are hero re-visits the 8mm films and discovers new elements to them which adds a new depth to the story. The film feels relentless, rarely taking time to slow down and constantly feeling as though it's propelling towards something. However elements of the script are where the weaker parts of the film shine. While managing to bring interesting uses of horror and tension the film often retreads over clichéd ground as though it's trying to keep a warm attitude towards mainstream audiences. These are the times when the film feels as though it may lose focus but always manages to pick up its feet again. Alongside this we have some underused side and poorly written characters such as a police deputy who doesn't feel natural within the whole scale of things.
Sinister may tread over worn ground by it still manages to feel fresh and revitalizing in an age where we've conformed to the degrading standards of horror. It embraces the roots of horror and film in general making it much more than a homage and a feeling of an original yet genuinely terrifying story. Hawk manages to carry the emotional tangent of the narrative while the other characters are merely serviceable. It's not groundbreaking but for a mainstream horror film it takes some inventive and daring steps creating a terrifying, disturbing yet absorbing piece of cinema.
4/5 Stars.
Trilogies can be a dangerous area to play with, especially with a series that is already hailed for its direction. But Christopher Nolan enters this zone with "The Dark Knight Rises" after the phenomenal success of his previous adaptation of the Batman figure, "The Dark Knight". With such hype and public following backing up this production is it worth the risk? To jeopardize you're recognition for re-inventing the superhero movie just for a few extra dollars? A series that has pushed the limits of this universe to the brink? In this case of Nolan's direction with this film, the answer is yes
and he does the impossible with ease.
The events of this story take place 8 years after "The Dark Knight" where the mysterious, yet ruthless Bane enters Gotham City setting off a chain of events that forces Bruce Wayne to don the bat suit again and protect the city for the injustice that is being served. Along side this is an array of new characters that propel the plot while also creating an emotional resonance within. Joseph-Gordon Levitt plays the rookie, idealistic cop John Blake with such enthusiasm and depth that makes for an instantly relatable bond between the audience and the screen. Adding to the already stellar cast is two strong, independent female leads. Miranda Tate (Marion Cotillard), a recent addition to the Wayne Enterprise who creates a connection with Bruce Wayne, and the slick, yet sexy Selina Kyle (Anne Hathaway), a Robin Hood esque vigilante that lives away from the rich and luxurious world that most of our characters live amongst.
Showing the way Selina Kyle lives opens up to some of the themes that are a large concept in this essentially extravagant, epic summer blockbuster. Class crisis plays a large part as the rich have become powerful and the poor are becoming desperate. It's a contrast to our economic climate making this film more relevant than it initially appears. Metaphorically showing how people stand up to oppression and create anarchy is achieved through visually stunning set pieces, intertwining ideas and action into a competent mix. These ideas are there if you're looking for some contextual backbone, but not necessary for you to fully dissect.
By grounding the series to reality Nolan has essentially created art house films with his Batman realizations, mixing ideas with spectacle against a visually independent backdrop. The colour tones that filter the screen play against the mood of the characters and Wally Pfister's cinematography turns the epic scale all the way up to 11, while still making the low key and character filled scenes visually exciting. The direction is superb, managing to juggle the variety of characters on display giving them all the depth and development they all deserve. Managing to create this level of emotional engagement against a numerous amount of set pieces is a hard feat but the film is paced as the roller-coaster ride it is, taking the necessary twists and turns the plot decides to venture towards.
The series has built up to this epic conclusion in a film that feels entirely relevant and a director's work, instead of a studios decision. The level of spectacle on display is phenomenal giving the modern day film going the price of his admission plus more. The film takes the best parts of the previous installments and throws them into a circumstance that makes the last Harry Potter film look like child's play. The places the film goes are so unexpected and breathtaking that it's hard not to be amazed and fall in love with superhero films all over again. "The Avengers" may have created a visually exciting and enjoyable romp of a film, but "The Dark Knight Rises" manages to take those positives and attach a real sense of weight and peril to the situation. Though the story is primarily Bruce Wayne's and how he must rise to protect everything he holds close, it's just as much as the city of Gotham's film. You feel the danger; you feel the stakes, which is something that we haven't felt within a film of this caliber for a long time. With Hanz Zimmer score adding to the levels the film is escalating towards branded together with a phenomenal sound design making sure you feel every explosion, punch and gunshot it's hard not to feel the inner child within yourself trying to break free.
We've come along way over the last decade with superhero films. The idea of a comic book playing out as a motion picture has traveled so far and ventured to every corner of the spectrum that it's lacking the one thing that made them so special in the first place spectacle. We've been treated to awe of seeing our beloved characters jump to the big screen but how it all plays out rarely changes. Christopher Nolan is the game changer though, in his 164 minute epic "The Dark Knight Rises" we journey to those points and clichés we've grown up with merely to push past them, break them, entering a film that we are unlikely to see the likes of again or at least for a very long time. There may be the odd contrived moment but for a film on this scale they are easy to let go and are overshadowed. This is a dark; emotionally draining experience expertly crafted alongside beautifully staged action set pieces but it's a ride and it's certainly one that deserves to be taken.
The events of this story take place 8 years after "The Dark Knight" where the mysterious, yet ruthless Bane enters Gotham City setting off a chain of events that forces Bruce Wayne to don the bat suit again and protect the city for the injustice that is being served. Along side this is an array of new characters that propel the plot while also creating an emotional resonance within. Joseph-Gordon Levitt plays the rookie, idealistic cop John Blake with such enthusiasm and depth that makes for an instantly relatable bond between the audience and the screen. Adding to the already stellar cast is two strong, independent female leads. Miranda Tate (Marion Cotillard), a recent addition to the Wayne Enterprise who creates a connection with Bruce Wayne, and the slick, yet sexy Selina Kyle (Anne Hathaway), a Robin Hood esque vigilante that lives away from the rich and luxurious world that most of our characters live amongst.
Showing the way Selina Kyle lives opens up to some of the themes that are a large concept in this essentially extravagant, epic summer blockbuster. Class crisis plays a large part as the rich have become powerful and the poor are becoming desperate. It's a contrast to our economic climate making this film more relevant than it initially appears. Metaphorically showing how people stand up to oppression and create anarchy is achieved through visually stunning set pieces, intertwining ideas and action into a competent mix. These ideas are there if you're looking for some contextual backbone, but not necessary for you to fully dissect.
By grounding the series to reality Nolan has essentially created art house films with his Batman realizations, mixing ideas with spectacle against a visually independent backdrop. The colour tones that filter the screen play against the mood of the characters and Wally Pfister's cinematography turns the epic scale all the way up to 11, while still making the low key and character filled scenes visually exciting. The direction is superb, managing to juggle the variety of characters on display giving them all the depth and development they all deserve. Managing to create this level of emotional engagement against a numerous amount of set pieces is a hard feat but the film is paced as the roller-coaster ride it is, taking the necessary twists and turns the plot decides to venture towards.
The series has built up to this epic conclusion in a film that feels entirely relevant and a director's work, instead of a studios decision. The level of spectacle on display is phenomenal giving the modern day film going the price of his admission plus more. The film takes the best parts of the previous installments and throws them into a circumstance that makes the last Harry Potter film look like child's play. The places the film goes are so unexpected and breathtaking that it's hard not to be amazed and fall in love with superhero films all over again. "The Avengers" may have created a visually exciting and enjoyable romp of a film, but "The Dark Knight Rises" manages to take those positives and attach a real sense of weight and peril to the situation. Though the story is primarily Bruce Wayne's and how he must rise to protect everything he holds close, it's just as much as the city of Gotham's film. You feel the danger; you feel the stakes, which is something that we haven't felt within a film of this caliber for a long time. With Hanz Zimmer score adding to the levels the film is escalating towards branded together with a phenomenal sound design making sure you feel every explosion, punch and gunshot it's hard not to feel the inner child within yourself trying to break free.
We've come along way over the last decade with superhero films. The idea of a comic book playing out as a motion picture has traveled so far and ventured to every corner of the spectrum that it's lacking the one thing that made them so special in the first place spectacle. We've been treated to awe of seeing our beloved characters jump to the big screen but how it all plays out rarely changes. Christopher Nolan is the game changer though, in his 164 minute epic "The Dark Knight Rises" we journey to those points and clichés we've grown up with merely to push past them, break them, entering a film that we are unlikely to see the likes of again or at least for a very long time. There may be the odd contrived moment but for a film on this scale they are easy to let go and are overshadowed. This is a dark; emotionally draining experience expertly crafted alongside beautifully staged action set pieces but it's a ride and it's certainly one that deserves to be taken.
