Michael Nyqvist, Noomi Rapace, Sven-Bertil Taube, Peter Haber, Lena Endre, Peter Andersson, Marika Lagercrantz, Ingvar Hirdwall, Björn Granath, Ewa Fröling
Director:
Niels Arden Oplev
Genres:
Foreign, Foreign Thrillers, Scandinavia
Language:
Swedish
This movie is:
Violent, Mind-bending, Suspenseful, Scary
Journalist Mikael Blomkvist (Michael Nyqvist) and rebellious computer hacker Lisbeth Salander (Noomi Rapace) team up to investigate the unsolved disappearance of wealthy Henrik Vanger's (Sven-Bertil Taube) teen niece (Ewa Fröling), only to uncover dark secrets about Vanger's powerful family. Niels Arden Oplev directs this Swedish thriller based on the first novel from Stieg Larsson's best-selling trilogy.
Lisbeth Salander uses her mind more than you.
Superb. A bit long, but worth the effort (Men Who Hate Women is the correct translation of the title). A Swedish tabloid journalist accuses a fellow countryman, a wealthy Swedish industrialist, of arms dealing. The journalist is charged with defamation, and is found guilty. Before serving his sentence, he is hired by the patriarch of the Vanger Concern (a rich and powerful Swedish family) to find his nieces murderer. She was apparently murdered (and her body never found) 40 years earlier. Every year, tho, on the patriarchs birthday, he receives a gift of pressed flowers in a picture frame - the same gift that his niece had always made for him. The patriarch believes the gifts to come from her murderer - and he wants that person discovered. But the evidence points to it having been a family member. Teaming up with a teen-age bi-sexual computer hacker ward of the state, the journalist finds himself getting deeper and deeper into this 40-year old mystery.
One of the best literary adaptations ever
Great cinematography
I'm an avid fan of the books and very often I'm left disappointed by literary adaptations. This, however, is an extraordinary adaptation. The book may seem to be easy to adapt since it's generally a murder mystery, but the book is so much more than that. I didn't expect the film to really delve into the purpose behind the book (i.e. violence against women), but these themes are prevalent throughout the film. The directing is effective, the score is chilling and fitting, the acting is top notch with great casting (especially Rapace). There's a reason why the trilogy has sold 30+ million copies, why the movie has broken records across Europe, why the film did so well in the US in limited release, why literary critics consider the book one of the best in modern times, and why film critics who have read the book think this is an excellent adaptation---because it's all true.
When even schoolchildren begin to abuse a system on the verge of social collapse, the Japanese government introduces a strict new punishment whereby randomly chosen students are taken to a deserted island and forced to fight each other to the death. Renowned Japanese auteur and actor Takeshi "Beat" Kitano stars in this explosive, violent drama from director Kinji Fukasaku, based on Koushun Takami's novel.
and you thought 9th grade was hard.
It almost makes me feel shameful but I really enjoyed this movie. Its unlike anything I have ever watched. The premise, each year a randomly-selected rotten apple 9th grade class is kidnapped and sent to a deserted island where they are equipped with weapons and are forced to kill each other until one survivor is left. Thats right, 9th graders. Can you say, extreme Lord of the Flies. Its amamzing to see what people, in this case children, would do in life and death situations. Who runs and hides, who kills their best friends, who just becomes a complete psycho and gets a thrill out of all the mayhem.
Teacher of the year
Great acting all around
I had been hearing about this flick for a long time, with its copious blood shed and over-the-top violence, and with the inevitable comparisons to fellow extreme Asian flicks like Ichi and Suicide Club. Though I went into BR with high expectations I was still blown away. It not only satiated my gore and shock quota, but it also impressed the need for some well versed commentary. Infused in all the high octane action is a well-oiled and sincere tale of friendship and loyalty which battles to survive in the shadows of social and governmental corruption. The characters and relationships are so well drawn out and brought to life with some great performances and a brilliant musical score (especially the haunting innocence of the choral themes). BR is not only a fun and energetic splatter action flick, it's a highly provocative statement on modern society with all its hypocrisy and beauty.
Director Takashi Miike fashions an explosive drama in Audition. Shigeharu Aoyama (Ryo Ishibashi) has lived as a widower for too long and decides it's time to marry again. But how will he find a wife? When a friend suggests he hold a fake audition to pick the right woman, he takes him up on it -- only to realize that his choice may be a better actress than he bargained for.
This is one sick and twisted movie, and I mean that in a good way....sort of. What begins as a bittersweet little film about a widower's search for a new companion becomes a dark, surreal tale not for the squeamish. Director Miike explores themes about the role of women in male-dominated Asian society, with the women taking their revenge in a jarring sequence that plays like a kick to the gut. The tone of the film shifts seismically between beginning and end, and Miike handles it seamlessly, moving from quiet, contemplative scenes to psychologically and graphically violent imagery. For viewers with a strong constitution, there is much here to recommend.
Anyone who knows the genre can tell you that the most creative and frightening horror in the last 5 years has been made overseas- in Japan. AUDITION is no exception. Takeshi Miike breaks all rules, so don't expect a "typical" horror film- or cinematic "experience" for that matter. Miike's films are often extreme, and often dark, but always unforgettable.
This first installment of the trilogy based on the best-selling science fiction novels by Russian writer Sergei Lukyanenko plays upon the tension between light and dark, pitting the superhuman Night Watch patrollers (known as the "Others") against the shadowed forces of the night. But the biggest fear of all stems from the lines of an ancient prophecy, which warns of a renegade Other whose betrayal could bring chaos to the land.
Movies in the US of this genre have gotten so bad I don’t even want to see them any more. This is Van Helsing, Kill Bill/Crouching Tiger Hidden Dragon, comic movies, Matrix type movies, zombie movies, etc… done right. Its style is slick and in your face, without coming off as cheesy and "Hollywood". It’s over the top and dark, telling the classic tale of good and bad fighting each other. I love the over exposed film, fast cuts, gritty subject, gore and over styled to the point of bringing reality to a stand still used in this film. At times the story is difficult to follow, which maybe because it is such a visual feast that you miss some of the subtitles. I was fortunate enough to get a Russian released copy of the movie; however I will also see when it’s limited release in US theaters for the full big screen effect. This is supposed to be the first part in a three part serious and I personally can’t wait too see the rest. This is for everyone disappointed in big budget Hollywood Sci-Fi Horror Action movies that are “kiddied up” to get a PG-13 rating for maximum potential for audiences and thus maximum profit. If the opening 15 minutes of this movie, which got me instantly hooked does not get your blood pumping for more, shut it off, it’s not for you.
"Night Watch" is one of the most expensive Russian film production ever and enjoyed in it's home country the best movie start of all time (15 million US $ in its first month), but is it any good? Yes and no. First of all, let me say that this is a special effects film and even though for a Russian production this has a comparatively huge budget for CGI and makeup f/x, the results are decidedly mixed. Most of it is OK, with single drops into the ridiculous. The direction by former ad director Bekmambetov is stylish enough, without forgetting to portray the grittiness of Russian life circumstances. The actors are competent, though leading man Konstantin Khabensky is lacking in the charisma department. The story ultimately is the measurement of what is good and bad about "Night Watch" and it does contain both. The novels, on which this film is based, are pretty complex, making this the first in a trilogy, with "Day Watch" and "Dusk Watch" to come. The presented battle between good and evil supernatural beings is reminiscent of other genre efforts, but unlike, say "Underworld", "Night Watch" takes its elements seriously. This is a mixed blessing. On one hand you have a real mythology underlying events instead of a starting point for subway machine gun battles of longhairs, on the other there is no humor in the picture and the reverent and dead serious tone in spite of the bizarre events is sometimes overdone and a little laughable.
Dark, Light, and Others.
The idea of supernatural police forces observing and checking each other is a nice one, as are numerous quirky little ideas, but overall there are two lame stereotypes for every good and fresh idea. Most disappointing is the double climax letdown. The 'grudge' storyline is extremely well built up with lots of suspense but ends with a whimper instead of a bang. The climax of the 'kid' storyline is muddled as well, but does offer a nice full circle resolution to one aspect of the story and features an interesting cliffhanger.
Tom Hardy, Matt King, James Lance, Kelly Adams, Amanda Burton, Katy Barker, Edward Bennett-Coles, Helen Grayson, William Darke, Brendan McCoy, Jonathan Phillips, Hugh Ross, Joe Tucker
Director:
Nicolas Winding Refn
Genres:
Drama, Crime Dramas, Biographies, Dramas Based on Real Life, United Kingdom
Language:
English
This movie is:
Violent, Cerebral
Nicolas Winding Refn's vivid and unflinching biopic delves into the life of Britain's most notorious prisoner, Charlie Bronson (Tom Hardy) -- who's been jailed for nearly 35 years -- and attempts to dissect the real man behind the deranged persona. While Bronson's primary ambition was to be famous, he became a celebrity of sorts as a criminal who seized myriad opportunities to demonstrate extreme and terrorizing savagery.
Wonderful color tone throughout the movie.
No man likes to sew.
Charlie Bronson (born Michael Petersen) has the distinction of being Britain's Most Notorious Criminal. Despite never having killed anyone, and mostly being a petty thief, at the age of 56 he has spent 34 years in prison, 30 in solitary confinement. He has also won awards for his art and poetry. He has one ambition: “All my life I've wanted to be famous.” And so he is. The film is extremely exaggerated and stylized, and fairly violent (but not gory and again, Bronson never killed anyone, and he isn't really Chopper either—his is more frequently the violent rage of a charging bull than a calculating psychopath), somewhat in the tradition of Clockwork Orange, but much less cruel, much funnier, and to me, much more entertaining. Bronson isn't seeking pity, or even understanding. On some very basic level, prison seems to suit him just fine—but he appears to maintain some sort of sense of dignity and even freedom through a rabid refusal to conform. There are shades of One Flew Over the Cuckoo's Nest in the darkly hilarious scenes in the psychiatric prison, a place which did not suit our protagonist in the least. Tom Hardy's performance is utterly mesmerizing. And the combination of visuals and music, and even dark humor, is reminiscent of the best of Terry Gilliam—and throw in some Vaudeville and Grand Opera—in other words, shameless excess! I found this movie endlessly entertaining, but I don't mind violence, and extravagant stylization is a good thing in my book—especially when it's done as gorgeously as it is here. More of a stylized psychological portrait than a true “biopic”.
The many faces of Charlie Bronson.
This is near masterpiece for reasons not only associated with the main actor, Tom Hardy's performance, but because of it's on and off linear, narrative story telling. From the get go we are immersed into a biopic told directly through the words of the Bronson character himself, in a black abyss of a room with only light shining onto his bald head, distinctly twisted mustache and prison coveralls that stick to his broad shoulders. He's not charming,he's not smart, or resourceful, but he's intimidating. Really intimidating. The look of self certainty in his eyes and his raspy, yet brooding voice with his thick British accent, begins to elaborate his life's tale in visual gushes of realistically choreographed fist fighting, face stomping, face biting, mouth frothing, veins popping, plethora of testosterone and ego maniacal... well sanity.
Whether most of this biopic is true or merely elaborated for cinematic purposes, the point is finely met and it never gets boring, well as it is really well made and done so with a high entertainment value by somehow, attaining substance and sincerity. Bronson is a unique film treat—yeah, not for everybody—but for you artsy intensity junkies, this is it!
A group of Norwegian friends get the scariest history lesson of their lives during a weekend getaway to the snowy town of Øksfjord, where the party is interrupted by throngs of Nazi zombies who once occupied the area. Armed with a machine-gun-equipped snowmobile, the gang fights for survival in director Tommy Wirkola's quirky horror, shot on location in the mountains of Norway. The film had its U.S. premiere at the 2009 Sundance Film Festival.
Great, great fun for fans of horror comedy! I thought the balance between gore, terror, shock, and hilarity was spot-on perfect. Part of the Midnight Adrenaline series at SIFF 2009, Dead Snow delivered exactly that—lots and lots of adrenaline! The kills are outrageously gross and wickedly funny and the tone moves back and forth between scary and comic with a constant ebb and flow, delivering regular cathartic relief to the build-up of terror. My favorite: when one of the men cuts off his own arm with a chainsaw, trying to avoid infection, because he's just been bitten by a Nazi zombie and doesn't want to turn into a zombie! If that doesn't sound like an absolutely inspired sight-gag to you, stay far away from this! These are zombie experts (zombie film-buffs that is) so they are better equipped than most of the victims in your average zombie flick to launch a spirited defense. Granted, I haven't seen every zombie flick out there, but I thought this fact alone added a good deal of originality to the story. Of course they don't listen to the warning from the local, who turns out to be way less savvy about survival of a zombie attack then the kids he's warning—I mean, how has this dude ever lived long enough to give the creepy warning in the first place?!?! Visually, despite it's low budget, it really delivers the goods—perhaps because you can't really go wrong with an isolated cabin in the snow-covered mountains of Norway. Stark and creepy already, it makes a fabulous blank canvas for uber-gore. Fans who like their horror “serious” probably won't love this—but for horror comedy camp fans, this is top-shelf goods!!!
Friends can only get closer when zombies are involved.
No american made cars in this movie.
Dead Snow never tries to fall under the pretense of being anything new or original, but rather gives a wink, smile, and nod to the forebearers of the horror genre. All of which could be a fault if it wasn't for the comedic blood gushing moments on pure white snow beautifully captured for viewing entertainment. The typical generic set up: 8 medical students on a long weekend of R&R with a little beer, fun, and sex set in a remote cabin. All is fun and good until a stranger comes along to tell a local tale of Nazi torture, gold, and MIA soldiers. After that the real carnage begins. If you didn't find the opening scene of zombies chasing a female victim to the song of Tchaikovsky's Dance of the Sugar Plum Fairy funny, then much of the humor will go above your head. There is no obvious hero of the bunch and none are annoying enough to route for their death. Dead Snow is a light entertaining horror movie that delivers some laughs, blood, action, and maybe a couple of scares. Lesson learned: Don't steal gold and if ever in an avalanche spit to find out which way is up. Surviving zombies: Who knows how to survive that one? Dead Snow: Leave your brain at the door and enjoy the rare bloody goodness of a fun horror movie.
This is when they make out.
And they watch.
Very gory, and even entertaining for a movie in Norwegian. Not the greatest zombie movie out there, but enough action to keep you entertained. Great effects, none of those very visible switch to computer graphics you see in so many movies. I found the premise revealed at the end as the cause of the zombie attacks a little dubious, but I guess if I can accept that there a Nazi zombies then it doesnt matter too much.
Karin Bergquist, Kare Hedebrant, Lina Leandersson, Per Ragnar, Henrik Dahl, Peter Carlberg, Ika Nord, Mikael Rahm, Karl-Robert Lindgren, Anders T. Peedu
Director:
Tomas Alfredson
Genres:
Foreign, Foreign Horror, Scandinavia, Swedish Language
Language:
Swedish
This movie is:
Violent, Scary
Twelve-year-old Oskar (Kåre Hedebrant), the constant target of bullies, spends his time plotting revenge and collecting news items about the grisly murders plaguing his town. But things change when he meets a new girl named Eli (Lina Leandersson), a misfit vampire who steals his heart. As a serial killer continues to prey on teen boys in their small Swedish village, Eli helps Oskar find the courage to stand up to his tormenters.
A vampire love affair that touches your heart.
I've seen lots and lots of vampire movies. This one shoots right to the top of my list of favorites. Very original, and if you enter into the logic of the vampire mythology, very natural and believable. Most of the horror of this movie comes not from the little vampire girl, but from the Lord of the Flies playground dynamics. This is actually a sweet little coming-of-age, first love story, that captures the real horrors of early adolescence and melds them with the archetypal/mythological horror of the vampire fable, throwing in a good dose of blood, surprise, dread, and dark humor. More for mood-horror than shock-horror fans,and for vampire aficionados always looking for a creative new twist on an old love.
The beginning of a new friendship.
Assuming you're already familiar with the premise, you'd think Let The Right One In would be creepy and uncomfortable to watch; and while it certainly has its share of terrifying scenes, it's really not. In fact, a large portion of this film is innocent and gentle. Yes, little 12-year-old Oskar is viciously targeted by bullies at school, he has no friends, and his mother and estranged father can't even begin to understand what he's going through (all the signs of a budding psychopath); and yes, Eli is a vampire and yes, she's capable of spectacular violence, but it's not just her 12-year-old body that hasn't grown up, it's her mind as well. She's just a little girl deep down inside that isn't quite capable of wholly understanding the hunger that drives her. All she knows is that she feels empty and alone because of what she is. Something that Oskar, despite not sharing her affinity for drinking blood for sustenance, understands as well. It's this bond (that's staged so poetically and beautifully) that brings them close together despite their differences.
Remember that you must let them in.
The disease spreads fast.
Whether it's the gorgeous cinematography, the intriguingly stylized mood and atmosphere, or the aforementioned bond that the protagonists share, this film is truly magnificent and will not disappoint. The best fairy tales always have so much darkness in them. That's why they resonate so deeply. "Let The Right One In" is no exception. It's a touching story about loneliness and falling in love with someone who fills the hole in your heart. I really can't praise this film enough. I was moved beyond my ability to articulate it into words. Please watch this film. Repeatedly. It continues in a long line of cinematic gems that teach us that while we all share disparate exteriors, inside we're not that much different from one another.
